Donald Heald Rare Books

Donald Heald Rare Books
A Selection of Fine
Books and Manuscripts
Donald Heald Rare Books
A Selection of Fine
Books and Manuscripts
Donald Heald Rare Books
124 East 74 Street New York, New York 10021
T: 212 · 744 · 3505 F: 212 · 628 · 7847
[email protected]
www.donaldheald.com
Boston 2014
Americana & Canadiana: Items 1 - 26
Voyages & Travel: Items 27 - 53
Colour-plate, Illustrated & Photography: Items 54 - 69
Natural History, including Landscape Design: Items 70 - 89
Miscellany: Items 90 - 100
All purchases are subject to availability. All items are guaranteed as described. Any purchase may be
returned for a full refund within ten working days as long as it is returned in the same condition and
is packed and shipped correctly. The appropriate sales tax will be added for New York State residents.
Payment via U.S. check drawn on a U.S. bank made payable to Donald A. Heald, wire transfer, bank
draft, Paypal or by Visa, Mastercard, American Express or Discover cards.
AMERICANA
1
[ALMANAC] - TRAVIS, Daniel.
MDCCXI. An Almanack of Coeliestial Motions and Aspects for the Year ... 1711 ...
Boston: N. Boone, 1711. 8vo (6 x 3 3/4 inches). 16pp., plus initial and terminal blanks. Man of
signs woodcut on p. 2. Contemporary stitched marbled paper wrappers. Provenance: Dr. Timothy L.
Jennison (19th century presentation inscription to); Samuel Webber; Isabel Otis (later inscription).
Scarce early American almanac.
Evans incorrectly ascribes the printing of this almanac to Bradford in New York. It is very unusual to find
American almanacs from this early period in their original wrappers.
Evans 1490; Drake 2940.
(#26548) $ 1,500
Item 2
2
AMERICAN GAZETTEER - A. MILLAR and J.& R. TONSON (publishers).
The American Gazetteer. Containing a distinct account of all the parts of the New World: their situation,
climate, soil, produce, former and present condition; commodities, manufactures, and commerce.
Together with an accurate account of the cities, towns, ports, bays rivers, lakes, mountains, passes, and
fortifications. The whole intended to exhibit the present state of things in that part of the globe, and the
views and interests of the several powers who have possession in America. Illustrated with proper Maps.
London: Printed for A. Millar and J. & R. Tonson, 1762. 3 volumes, 12mo (6 13/16 x 4 inches). 6
folding engraved maps, engraved by J. Gibson. Expertly bound to style in eighteenth century russia
over period marbled paper covered boards, spines with raised bands in six compartments, red
morocco lettering piece in the second compartment. Provenance: William Tyler (Petworth, Sussex,
early book labels).
First edition of a rare work: the first American gazetteer, and an important description of the British Empire in
America at the end of the French & Indian War.
An important source of contemporary information about 18th-century Canada and America at the time
of the French and Indian War, it contains much useful information on climate, soil, and produce as well as
giving accounts of cities and waterways in all parts of the New World. Sabin calls it a “meritorious work.” The
entries for Spanish America are especially useful, since earlier information concerning Spanish possessions
had tended to be vague and inaccurate; the author used Spanish sources for these entries and corrected many
previous misconceptions. This work was translated into Italian under the title Il Gazzettiere Americano
(Livorno: 1763), though this first edition is considerably more scarce.
The folding maps, engraved by John Gibson, are of: 1. America, North and South; 2. Carolina, Georgia and
Florida; 3. New England, New York and Canada; 4. West Indies; 5. Newfoundland; 6. Pennsylvania, Virginia
and Maryland.
The provenance of this set is of particular interest: William Tyler served as the Earl of Egremont’s land
steward at the time of the Petworth Emigration Scheme to Ontario Canada. The scheme, sponsored by
Egremont and promoted by Thomas Sockett, Rector of Petworth, sent around 1800 working-class people
from the south of England to Upper Canada between 1832 and 1837.
Clark I, p. 153; Cumming 329; ESTC 006222388; Howes A207; JCB, III, 1313; Lande 6; Leclerc 233; Sabin 1090.
(#24678) $ 8,750
3
[AMERICAN REVOLUTION - Massachusetts Militia].
In the House of Representatives, September 17th, 1776. Whereas Doubts may arise in the Minds of
some of the good People of this State, who are willing to go out at this important Juncture against our
unnatural Enemies ... It is Resolved, That all those Persons who shall march out on this Exigence, shall
be recalled within the Space of two Months from this Date ...
Watertown: Printed by Benjamin Edes, 1776. Letterpress broadside, 11¾ x 8½ inches, untrimmed
with deckle edges. (Old folds).
A Revolutionary broadside posting the period of service fixed for Massachusetts militiamen.
The broadside goes on to empower officers to collect fines for sending another person to fight in one’s stead,
and allows officers to muster the militia “when and so often as they may respectively find it necessary, in
order for the obtaining the Quota designed....”
NAIP locates six copies. The copy at the American Antiquarian Society is printed on half a sheet, with a
similar broadside (intended to be separated).
Evans 14867; Bristol B4268; Shipton & Mooney 43087; Ford 1998; Cushing, Massachusetts Laws 950; NAIP w027212.
(#28313) $ 4,500
Item 3
4
AZARA, Félix Manuel de (1746-1821).
Voyages dans l’Amérique Méridionale, par Don Félix De Azara ... depuis 1781 jusqu’en 1801.
Paris: Dentu, 1809. 5 volumes (text: 4 volumes, 8vo [7 3/4 x 4 7/8 inches]; atlas: folio [14 x 10 1/4
inches]). Text: lx,389; [4],562pp. plus three folding tables; [4],ii,479; [4],380pp. Atlas: [4]pp. Twentyfive engraved maps and plates. Atlas uncut. Text: contemporary tree calf, covers bordered in gilt,
flat spine in compartments with red and black morocco lettering pieces in the second and fourth,
the others with a repeat decoration in gilt, marbled endpapers. Atlas: publisher’s blue paper boards,
printed paper label on the upper cover.
The preferred First French Edition, with additional notes by Cuvier and Sonnini: the atlas here uncut and in
original boards.
An important work by Spanish naturalist Felix de Azara (1746-1821). Azara, a military officer, was part of a
delegation to settle the boundary dispute between Spain and Portugal in the Rio de la Plata region. He was
in the region for twenty years, from 1781 to 1801, documenting the wildlife, natives, and geography of the
area. This work is the culmination of his time there, published upon his return to Europe.
The atlas includes folding maps of South America, Paraguay and the Province of Buenos Aires, the
Government of Buenos Aires, the Government of Paraguay and part of Chaco, and the Province of Chiquitos
and Government of Matagroso and of Cuyaba; eight city plans and views, including a double-page plan and
view of Buenos Aires, seven plates depicting animals, and four plates depicting birds.
First published in Spanish in Madrid between 1802 and 1805, the work provides an important contribution
to natural history, describing over 400 species of birds, many for the first time (see vols. 3 and 4 of the text).
Interestingly, Darwin would read Azara’s work following his return from the second voyage and refer to it
within his Voyage of the Beagle.
Palau 20975; Sabin 2541; Field 62; Wood, p. 214.
(#28591) $ 12,000
5
BACKUS, Isaac (1724-1806).
A Church History of New-England. Vol. II.
Extending from 1690, to 1784. Including a
concise View of the American War ...
Providence: Printed by John Carter and sold
by Philip Freeman, 1784. 8vo (7 1/2 x 4 3/4
inches). xvi, 432pp. (Front endpaper torn,
some browning and staining). Contemporary
sheep, spine with raised bands, black morocco
lettering piece in the second compartment.
Provenance: Taylor Chapman (signature on
endpaper).
Very rare first edition of this important history.
Issued in three volumes, with the first volume titled
A History of New England and the second and third
volumes re-titled A Church History..., the set is rarely
found complete as the volumes were published in
1777, 1784 [the present] and 1796 respectively, with
the first and last volumes published in Boston, and
the present second volume in Providence. The work
covers the history of New England, with an emphasis
on religion, between the years 1610-1796. The present
second volume of the series is particularly desirable as
it includes a history of the American Revolution.
Backus (1724--1806) was born at Norwich, Conn.,
ordained a Baptist minister at Middleborough, Mass.,
and was pastor of the church at Titicut. An advocate
of complete religious freedom, he was a delegate to the
convention which adopted the Federal Constitution,
and a trustee of Rhode Island College (now Brown
University). His History is his most important work.
Only George Washington’s copy of Volume 2 appears
in auction records, selling in 1986 for $ 16,000. There
are no recent records for a three volume set.
Evans 18336; Alden 979; Howes B15; Sabin 2631.
(#28717) $ 1,500
6
[BARBA, Alvaro Alonso (1569-1662)].
Grundlicher Unterricht Von Den Metallen.
Ephrata, PA: J. Georg Zeisiger, 1763. 2
parts in one, 8vo (7 1/4 x 4 5/8 inches). [4],
5-198, [4], 14pp. Full-page woodcut on
p. 187 (Browning as usual). Modern calf,
incorporating portions of the original covers,
spine in six compartments with raised bands,
red morocco lettering piece in the second
compartment.
The first book on mining and geology published in
North America and a rare Ephrata imprint.
Barba originally published this work in Madrid in
1640 based on his personal observations while serving
as a Catholic priest in the mining district of Potosi,
Bolivia. Numerous editions followed, including the
present first American edition published on the famed
Ephrata press. The book, the earliest on mining, ores
and minerals to be published on a colonial American
press, gives a description of the revolutionary practices
being implemented in the South American mines.
Barba describes the generation of metals, methods of
extracting silver by mercury, the process discovered in
1607 for extracting gold, silver, and copper by boiling
with a salt solution and mercury in a copper vessel,
and the refining and separation of these metals. There
is also a chapter on petroleum products in Peru and
elsewhere. The plate shows mining tools and a brick
oven. The present American edition would seem to
be translated from a 1740 London edition. “Very rare
imprint” (Sabin).
Evans 9333; NAIP W018481; Hildeburn 1873; Seidensticker,
p.60; Doll & Funke 399; Arndt 267; Rink 769; Sabin 67375.
(#27694) $ 7,500
7
[CANADA] - GREAT BRITAIN, War Office - Garnet Joseph WOLSELEY; Mathew Bell IRVINE; and others.
Report on the Red River Expedition of 1870, by Assistant Controller Irvine ... [Bound with:]
Correspondence Relative to the Recent Expedition to the Red River Settlement: With Journal of
Operation ... [and with:] Maps to Illustrate the Correspondence Relative to the Recent Expedition to the
Red River Settlement with Journal of Operations: Presented to Both Houses of Parliament by Command
of Her Majesty, 1871.
London: Harrison and Sons, 1871. 3 parts in one, small folio (12 1/2 x 8 inches). [2], 16pp, plus
folding table; [2], 96 pp.; [2] pp., plus 2 large hand-coloured folding maps (on three sheets). Expertly
bound to style in half dark purple morocco over period purple cloth covered boards, flat spine ruled
in gilt and lettered in the second compartment.
Scarce “blue book” reports and maps relating to the Wolseley Expedition against the Metis during the Red River
Rebellion.
In May 1870, an expeditionary force of 1700 British and Canadian troops was mobilized in Toronto and
proceeded on the arduous six-hundred-mile journey from Port Arthur (on Thunder Bay) to Fort Garry
(at what is now Winnipeg) to confront the native peoples in the remote territory who opposed the new
government. A few minutes before the expeditionary forces marched into Fort Garry on August 24, the
Metis leader Louis Riel and his remaining supporters escaped up the Red River, with Riel eventually seeking
amnesty in the United States. These reports detail the march, with much on the geography of the region.
“This map is the best for that region which I have seen” (Streeter).
The maps are titled:
1) Map shewing Line of Route between Lake Superior and Red River Settlement, compiled from S. J. Dawson’s
Exploratory Surveys, and Maps in Depar’t of Crown Lands O. By A. L. Russell. [Scale of 10 miles to an inch].
2) Sketch of Road from Prince Arthur’s Landing, Thunder Bay, L. Superior to Lake Shebandowan as traversed
by the Red River Expeditionary Force. Surveyed by Captain G. L. Huyshe. [Printed on two sheets, scale of
four inches to one mile].
Streeter sale 3933; Peel 260 and 263.
(#28299) $ 1,500
8
ECKFELDT, Jacob R. and William E. Du Bois.
New Varieties of Gold and Silver Coins,
Counterfeit Coins, and Bullion; with Mint
Values.
Philadelphia: Printed by the Authors, 1850.
12mo (7 1/4 x 4 1/2 inches). 60,[1]pp. Engraved
frontispiece, embossed plate of gold coinage,
two samples mounted on p. 45. Original giltprinted black paper boards, expertly rebacked
to style. Housed within a modern dark blue
morocco-backed cloth box. Provenance:
George W. Edelman (Author’s presentation
inscription on the front flyleaf).
An author’s presentation copy of a classic of
American numismatics, with an original sample of
California gold.
Included as illustrative material is a sample of
genuine gold from the California mines, as well
as an inserted leaf illustrating California and
Mormon coins, in gilt. The authors were the
official assayers for the Philadelphia Mint at the
time of this work’s publication, and the book was
intended as a guide for those unfamiliar with
recent advances in coinage and assaying. The
text includes much data regarding the recent
discoveries in California, and devotes an entire
chapter to the analysis of the quality of ore coming
from California. The sample is included so that
the novice can discriminate between alloyed and
unalloyed gold. There is also a discussion of the coinage of various countries of the world, including the
Tong Tsien of China, a “trashy coin...extremely convenient for alms-giving, a single piece being the usual
quietus for a beggar.” “...An extraordinary and colorful souvenir of the Gold Rush” (Wheat).
This copy is inscribed on the front flyleaf, “Geo. W. Edelman with the respects of the authors. Feb. 14, 1850.”
Edelman worked for the U.S. Mint and authored several works on the value of gold and bullion.
Wheat, Gold Rush 67; Howell 50:74; Streeter sale 2629; Kurutz 217a; Cowan p.76.
(#28220) $ 7,500
9
GLADWIN, George E. (1829-1920).
Pen & Ink Sketches, Coast and Harbors of Labrador, Summer of 1876.
[Worcester, MA]: 1877. Oblong small folio (9 3/4 x 13 7/8 inches). Printed in heliotype. 32 leaves,
plus folding map. Original printed boards, rebacked to style in black morocco.
Scarce work illustrated after pen-and-ink sketches drawn by George Gladwin while in Labrador during the
summer of 1876.
The dedication leaf reads, “To Capt. John Bartlett of Brigus, Newfoundland, whose kindness and generous
treatment of a party of excursionists from Boston while weather bound in St. Michael’s Bay, Labrador, will
long be remembered.” Each leaf is printed in heliotype. The illustrations show charming harbor scenes with
boats and icebergs. Gladwin served as the first professor of drawing at Worcester Polytechnic Institute.
Scarce on the market, and seemingly printed-privately for the author in a small number.
Not in Sabin or TPL.
(#27889) $ 4,750
10 GOULD, John W. (1814-1838).
Private Journal of a Voyage from New York to Rio de Janiero; together with a Brief Sketch of His Life
and His Occasional Writings.
New York: [Scatcherd and Adams, Printers] Printed for Private Circulation Only, 1839. 8vo (8 3/4 x 5
3/8 inches). [2],207pp. Folding map. (Closed tear to the map). Contemporary black morocco, covers
bordered in blind, author’s armorial gilt stamp to the covers, spine with raised bands, lettered in the
second compartment, glazed yellow endpapers, gilt edges. Provenance: George Gould (signature on
title).
Printed for private circulation only.
This copy with the ownership inscription of George Gould of Troy, N.Y., almost certainly a relative. “In
1833, [John] Gould sailed aboard the Commerce for Canton via Cape Horn and Valparaiso. He left the
ship in Chile and returned to New York, via Rio de Janeiro, on the Falmouth. He later returned to Rio on
board the Iwanowna. His occasional writings, included here, were republished as a popular work called
Forecastle Yarns, which went through several editions” (Hill). These include pieces with the following titles:
The Haunted Brig, The Capture of the Frigate President, The Capture of the Cyane and Levant, The Mutiny,
My First and Last Flogging, Cruise of a Guinea-Man, The Pirate of the South Pacific, The Cruise of the
Sparkler, and others.
Published bound in cloth or morocco (as here), it is believed that sets in morocco were for presentation by
the author, which is consistent with the family provenance of this copy.
Sabin 28116; Hill 717.
(#28661) $ 1,750
11 GUILLET, Peter.
Timber Merchant’s Guide. Also a Table, whereby,
at one view, may be seen the solid and superficial
measure of any square or unequal Hewed Logs or
Plank, from one to forty-seven inches. Also, Plates
representing the Figures of the principle pieces of
timber, used in building a seventy-four Gun Ship
of the Line, in standing trees.
Baltimore: John D. Toy for James Lovegrove,
1823. 8vo (8 x 5 1/4 inches). 24pp., [89]
pp. of letterpress tables. 30 hand-coloured
lithographic plates by Henry Stone after Guillet.
Contemporary tree sheep, expertly rebacked to
style.
The second book printed in America to be illustrated
by lithographs and an important record of the use of
timber in ship building.
A remarkable and important book, illustrated with
thirty hand-coloured lithographic plates, each of
which illustrates the most economic method of
using various tree types to provide the variously
shaped and stressed pieces of timber needed in the
building of a ship. This is the second book printed in
America to be illustrated with lithographs, preceded
only by J.E. Smith’s Grammar of Botany. The plates were produced by Henry Stone, “one of the earliest and
most elusive of all the lithographers” (Peters) and the first lithographer to practice in Baltimore.
The author begins the book with an impassioned plea for federal government intervention in the conservation
of the forests as a national resource: “When we consider the progressive devastations committed upon the
vast forests of this country - that, if the present destructive course be pursued, they must in time entirely
disappear - the necessity of taking prohibitory measures for their preservation, must be obvious to every
man of intelligence. It is necessary, not only to make the best use possible of the timber we possess, but
also to preserve resources for the future ... Let commissioners or foresters be appointed to superintend the
concerns of the forests, whose duty should be to attend to their preservation ... our expansive and seemingly
inexhaustible forests, will ere long be ruined; the foregoing anticipated evils will soon be realized, unless
preventive measures are immediately taken by the government.”
American Imprints 12738; Bennett, American Color Plate Books, p. 67; Bradley Bibliography IV p.222; Peters, America on Stone,
p.376. Not in Raphael An Oak Spring Sylva or Rink.
(#27887) $ 3,750
12 HALLEWELL, Edmund Gilling (1822-1869).
[Album of watercolours of scenes in Canada].
[Canada: 1847-1849]. Folio (20 x 15 inches). 42 watercolours, as listed below, mounted recto and
verso on 19 sheets, several signed in the image, most captioned on the mount. Expertly bound to
style in half calf over period marbled paper covered boards, spine ruled in gilt. Housed in a blue
morocco backed box.
Remarkable album of early watercolour views of Canada by a talented military artist.
1) [Halifax]. Graphite and watercolour. 10 1/8 x 14 3/8 inches.
2) Near Halifax NS. 1847. Graphite and watercolour. 10 1/8 x 14 1/4 inches.
3) York Redoubt Halifax. 1847. Graphite and watercolour. 10 1/8 x 14 1/4 inches.
4) N.W. Area. Halifax. N.S. 1847. Graphite and watercolour. 10 1/8 x 14 1/4 inches.
5) York Redoubt. Halifax. N.S. 1847. Graphite and watercolour. 10 1/4 x 14 1/4 inches
6) From the HMS Bellisle lying in the St. Lawrence. Graphite and watercolour. 10 3/16 x 14 5/16 inches
7) St. Lawrence looking out. Graphite and watercolour. 10 3/16 x 14 5/16 inches
8) Quebec. Graphite and watercolour with gouache. Folding panorama on two sheets joined. 10 3/16 x 28
1/2 inches
9) Looking over the Falls of Montmarenci from the Bridge. Graphite and watercolour. 10 3/16 x 14 5/16
inches
10) Quebec from Montmarenci. Graphite and watercolour. 10 3/16 x 14 5/16 inches
11) Montreal Canada 1849. Graphite and watercolour. 10 1/8 x 14 5/8 inches
12) At Halifax 1847. Graphite. 4 7/8 x 6 7/8 inches.
13) From Halifax 1847. Graphite. 4 7/8 x 7 inches.
14) Looking across the St. Lawrence. 1847. Graphite. 4 7/8 x 6 7/8 inches.
15) Montreal from St. Helen’s. 1849. Graphite and watercolour. 9 7/8 x 13 5/8 inches.
16) Camp of the 19th Regiment at St. Helen’s Montreal. 1849. Graphite and watercolour. 13 5/8 x 10 inches
17) Part of the Citadel of Quebec. Graphite and watercolour. 10 1/8 x 14 5/8 inches
18) [Ruins of a lighthouse near Quebec?]. Graphite and watercolour. 13 3/4 x 9 7/8 inches
19) Wolfe’s Cove Quebec. Graphite and watercolour. 10 1/8 x 14 5/8 inches
20) Montmarenci Fall Canda 1847. Graphite and watercolour with gouache. 10 1/4 x 13 3/8 inches
21) Kingston Barracks ... Canada West. 1848. Graphite and watercolour with gouache. 9 7/8 x 13 3/4 inches
22) Quebec from Montmarenci. 1847. Graphite and watercolour. 10 3/16 x 14 1/4 inches
23) Quebec from Road to Montmarenci. 1847.Graphite and watercolour with gouache. 7 1/4 x 13 1/8 inches
24) Quebec from above Point Levi. 1847. Graphite and watercolour. Folding panorama on 3 sheets joined.
10 1/8 x 43 inches
25) Zosky’s Bridge. W. London. Canada West. 1849. Graphite and watercolour with gouache. 9 3/4 x 13 7/8
inches
26) Niagara fr. the Suspension Bridge. 1849. Graphite and watercolour. 9 7/8 x 13 7/8 inches
27) At London. Canada West. 1849. Graphite and watercolour. 9 7/8 x 13 7/8 inches
28) On the Thames near London C.W. 1849. Graphite and watercolour with gouache. 9 7/8 x 13 7/8 inches
29) On the Thames at London Canada W. 1849. Graphite and watercolour. 5 1/4 x 8 5/8 inches
30) The Evening Gun. 1848. Watercolour with goauche. 8 1/4 x 11 13/16 inches
31) Kingston Canada West. 1848. Graphite and watercolour with gouache. 9 7/8 x 14 inches
32) Cataraqui Bridge. Kingston. Canada W. 1848. Graphite and watercolour. 9 7/8 x 13 7/8 inches
33) On Lake Ontario. 1848. Graphite and watercolour with gouache. 10 x 14 inches
34) Horse Shoe Fall. Niagara. 1849. Graphite and watercolour with gouache. 13 7/8 x 9 7/8 inches
35) [At Montmarenci Quebec]. 1847. Graphite and watercolour with gouache. 9 7/8 x 13 7/8 inches
36) Near Kingston. Lake Ontario. Graphite and watercolour with gouache. 9 7/8 x 13 7/8 inches
37) Fall of St. Mary ... Canada West. 1849. Graphite and watercolour with gouache. 9 7/8 x 13 7/8 inches
38) From the Rice Lake off Lake Ontario. Graphite and watercolour. 9 7/8 x 13 3/4 inches
39) Pt. Hammond Grenadier Compy. XX Regiment. Winter Dress. 1848. Graphite and watercolour with
gouache. 10 3/8 x 7 3/4 inches
40) On the Thames London Canada W. Graphite and watercolour with gouache. Irregularly shaped. 7 3/4
x 10 1/4 inches
41) [Loretto. W. Montreal Canada]. Graphite and watercolour with gouache. 8 7/8 x 11 inches
42) The Northern Lights. 1847. Graphite and watercolour with gouache. 5 3/8 x 8 3/4 inches
Edmund Gilling Hallewell, Lieutenant and Adjutant of the 20th or East Devon Regiment, was stationed
in Bermuda from 1841 to 1847. In addition to his military duties he also served as private secretary to
the Governor, Colonel William Reid and subsequently married Sophia Reid, the Governor’s daughter.
“Following a tour of duty in Bermuda from November 1841, Hallewell, then lieutenant and adjutant in
the 1st battalion of the 20th regiment, arrived at the Halifax station on board HMS Vengeance on May
5, 1847” (Coverdale). From 1847-1853, the regiment was posted to Kingston, London and Montreal in
Canada. The present watercolours, retained by Hallewell, date from the same period and represent the most
significant holding of watercolours of Canada by Hallewell during this formative period in Canada. The son
of a Gloucestershire member of parliament, Hallewell’s subsequent military career included service in the
Crimea and Malta, before he retired from active service in 1864. In 1869 he was appointed commandant of
the Royal Military College at Sandhurst, but died in the same year at the age of 47.
Allodi lists but a single watercolour view of Quebec in the Royal Ontario Museum; the Coverdale collection
in the Public Archives, Ottawa holds two watercolours (a view of Quebec and a view of Horseshoe Falls) and
cites additional holdings Royal Military College, Kingston, London Historical Museum and the London Art
Gallery. We know of no other holding of watercolours by Hallewell and certainly nothing of the scope of
the present album.
Allodi, Canadian Watercolours and Drawings in the Royal Ontario Museum I:794; Cooke, W. H. Coverdale Collection of
Canadiana 239 and 240.
(#26680) $ 75,000
13 JOUTEL, Henri (1640-1735).
A Journal of the Last Voyage perform’d by Monsr. de La Sale, to the Gulph of Mexico, to find out the
mouth of the Missisipi [sic.] River; containing an account of the settlements he endeavour’d to make on
the coast of the aforesaid bay, his unfortunate death, and the travels of his companions for the space
of eight hundred leagues across that inland country of America, now call’d Louisiana (and given by
the King of France to M. Crozat,) till they came to Canada. Written in French by Monsieur Joutel, a
commander in that expedition; and translated from the edition just publish’d at Paris. With an exact
map of that vast country, and a copy of the letters patents granted by the K. of France to M. Crozat.
London: Printed for A. Bell, B. Lintott and J. Baker, 1714. 8vo (7 1/2 x 4 3/4 inches). [2], xxi, [9], 205,
[5]pp. Engraved folding map. Expertly bound to style in period calf, covers with a gilt ruled border,
spine with raised bands in six compartments, ruled in gilt on either side of each band, red morocco
lettering piece in the second compartment.
First edition in English of this first-hand account of La Salle’s ill-fated expedition, and Joutel’s subsequent
incredible journey north to Quebec, through Texas, Arkansas, the Mississippi, and Illinois.
Of the three major narratives of the journey, this record, by La Salle’s closest subordinate, is the most
valuable. The party embarked in 1684, ostensibly to establish a French base at the mouth of the Mississippi
as a headquarters for operations, but also to push as far as possible into the region in order to gain a foothold
against the Spanish. In fact, through a conscious deceit, the base was established at Espiritu Santo Bay, in
Texas, from whence the party spent two years making excursions into the surrounding territory. When
promised reinforcements failed to appear, La Salle and his men determined to return to Canada via the
Mississippi; however, one of the company assassinated La Salle when they reached the Trinity River, and the
party split up. Some of the survivors, including Joutel, pressed on, reaching Canada by way of the Mississippi
and Arkansas rivers.
“Most reliable eye-witness account of La Salle’s two-years wanderings in Texas” (Howes).
Field 808; Howes J266; Jenkins, Basic Texas Books 114; Raines pp. 130--131; Wagner Spanish Southwest 79 a; Greenly p. 21;
Streeter sale 1:112; Church 859; Jones Adventures in Americana 150; Jones 399; Bell p. 274; Harrisse 750; Waterston p. 7;
European Americana 714/70; Sabin 36762; Keynes p. 164; Clark Old South I:14; Field 808; Graff 2252.
(#24874) $ 13,000
14 LEE, Robert E. (1807-1870).
[Group of three autograph letters signed, from Robert E. Lee to William O. Winston, regarding the
employment of six slaves from his father-in-law’s estate].
Alexandria, Virginia, and San Antonio, Texas: July 8 and 10, 1858; February 29, 1860. Three
autograph letters signed, written on folded folio and quarto sheets. A total of 7pp. of text. (Small
separations along old folds).
A remarkable collection of Robert E. Lee letters about his family slaves, written on the eve of the Civil War: “....I
cannot recommend them for honesty.”
A very interesting group of three autograph letters signed, from Robert E. Lee, written in the years just before
the outbreak of the Civil War, showing Lee seeking employment for six slaves from his recently deceased
father-in-law’s estate. The issue of Robert E. Lee’s views on slavery, and his treatment of slaves, has been
debated since the end of the Civil War. These letters, all in Lee’s hand, divulge some of his views on the
character of the slaves.
Robert E. Lee’s father-in-law, George Washington Parke Custis (the step-grandson and adopted son of
George Washington) died in October, 1857, leaving a large estate to the Lee family. Robert E. Lee was
named as the executor of the estate, which was extensive and in financial disarray. It included Arlington
Plantation (some 1100 acres), White House Plantation in New Kent County, and nearly 200 slaves. Custis’s
will called on his slaves to be freed once the debts from his estate were cleared, but no later than five years
after his death. Robert E. Lee, then a Lieutenant Colonel in the U.S. Army, had to take leave from his post in
Texas in order to settle the estate, a task which took several years. The duty was a heavy burden on Lee - the
plantations were barely functioning and heavily mortgaged, there was no cash to pay Custis’s daughters their
promised inheritances, and most of the slaves were unwilling to continue to work the farm to pay off family
debts when freedom was a few years away. These three letters, all of which are written from Lee to William
Overton Winston (1816-1862), clerk of Hanover Circuit Court, show him busily engaged in the work of the
estate, and specifically employed in the disposition of six slaves - three men and three women. Lee hopes to
hire the slaves out, thus recouping some funds to use toward the Custis estate. The first two letters are both
docketed “Custis executor.”
The first letter is dated July 8, 1858, and is written by Lee at Alexandria. He writes Winston: “I have made
arrangements to send down the three men on Monday next, 12 inst. They will reach Richmond about 2 p.m.
I am told, & the man who is to carry them, is now undetermined whether he will go by the mail boat via
Fredericksburg or by Gordonsville. Of this you will be advised. He will have orders to deliver them to you
at Richmond, or in the event of not meeting you, to lodge them in the jail in that city subject to your order.
Please inform me by return of mail whether any other day or arrangement, will be more convenient to you.
I may wish to send at the same time three women - one about 35 years old, one 22, & the other 17. They
have been accustomed to house work, the eldest a good washer & ironer. But I cannot recommend them for
honesty. I wish you to hire them out, in the same manner as the men, for one or more years, to responsible
persons, for what they will bring. Should you not be able to hire any or all these people, you may dispose
of them to the end of the year to the best advantage, on some farm, or set them to work at the White House
[Plantation] as you may judge best. Should there be an agent in Richmond to whom you could turn them
over, you are at liberty to do so, with specific instructions as to their disposition & security - according to
your suggestion.”
Two days later, again from Alexandria, Lee writes Winston, anxious at not having heard back from him yet.
He write that he will go ahead and send the three male slaves shortly: “In the absence therefore of hearing
from you I will send the three men referred to in my letter to Richmond on the morn. of the 12th inst. via
the Alex. & Gordonsville R.R. which will reach Richmond I am told about 2½ p.m. The hour the train leaves
here will be 7¼ a.m. & you will know the hour it will reach Hanover Ct. House. The men will be in charge
of Richard Williams P.O. for Alex. Co. Please make arrangements for their disposition.”
The third letter is written from San Antonio, Texas, where Lee was engaged in fighting Indians, and is dated
some eighteen months after the first two communications, in the spring of 1860. Lee apologizes for his
inability to communicate with Winston before leaving Virginia: “I had not time before leaving home to
apprize you of my intended departure. I had hoped to have rec’d. your accounts for the year 1859 & to
have placed them in the hands of the Commissioner; but was obliged to come off suddenly....If you have
not already sent them to Arlington, will you do so at your earliest convenience, that they may be presented
within the period prescribed by law. I made arrangements before leaving for their proper presentation....
Please also write to me at this place of the manner in which you have arranged matters, & of everything
interesting & important to me know [sic]....I must therefore at this distance thank you for all the trouble you
have taken for me & my affairs & hope you will give such advice to my son Fitzhugh as he may require & you
find necessary. I hope to hear from you before being obliged to take the field, but letters addressed to ‘San
Antonio, Texas’ will always reach me.”
An interesting group of letters, informative with regard to Robert E. Lee’s slaves he inherited from his fatherin-law, and revelatory with regard to his views of the slaves themselves.
(#28216) $ 37,500
15 LIVINGSTON, Edward (1764-1836).
A System of Penal Law for the United States of
America: Consisting of a Code of Crimes and
Punishments; A Code of Procedure in Criminal
Cases; A Code of Prison Discipline; and a Book
of Definitions. Prepared and presented to the
House of Representatives of the United States.
Printed by order of the House of Representatives
... [Bound with:] Introductory Report to The
Code of Reform and Prison Discipline [caption
title].
Washington: Gales & Seaton, 1828; New
Orleans: Benjamin Levy, [circa 1826]. Tall
4to (12 x 8 inches). x, [2],142, [2], 187 (verso
blank); 71; 45, [2], 21pp. Modern half calf over
marbled paper covered boards.
First edition of the first significant American
contribution to the creation of an enlightened and
fair system of penal laws: this copy bound with a
related rare New Orleans imprint.
Livingston had previously written a code for
his home state of Louisiana (1824), but like that
code this proposal for a national code of criminal
procedure was also not enacted into law. However,
this work, heavily influenced by the writings of
Jeremy Bentham, quickly gained recognition for its
emphasis on prevention and rehabilitation over revenge, and is one of the great early American works on
jurisprudence.
“Writing in 1902. Eugene Smith states what may be taken to the modern view of Livingston’s work. ‘Seventyfive years have since elapsed,’ he wrote, ‘and yet it is probably safe now to say that these Codes embody the
most comprehensive and enlightened system of criminal law that has ever been presented to the world. They
constitute a thesaurus from which the world has ever since been drawing ideas and principles. The Code
of Reform and Prison Discipline is especially striking from its breadth of view, and in some particulars its
wisdom is yet in advance of even the present age” (Hicks).
In the present copy, following the section titled Code of Procedure, but prior to the section titled Code of
Reform and Prison Discipline, is a 71pp. work published in New Orleans by Benjamin Levy, with the caption
title: Introductory Report to The Code of Reform and Prison Discipline. A 51-page Introductory Report,
printed in Washington, is generally found in this section, but it would seem that this New Orleans version
would precede it and is considerably more scarce.
Sabin 41617. Hicks “Men and Books Famous in the Law” 180. Cohen “Bibliography of Early American Law” 10311.
(#28335) $ 3,200
16 M’CALL, Hugh; Captain (1767-1824).
The History of Georgia Containing Brief Sketches of the Most Remarkable Events, Up to the Present Day.
Savannah, GA: Seymour & Williams [vol. 1] and William T. Williams [vol. 2], 1811-1816. 2 volumes,
8vo (9 x 5 5/8 inches). viii, 376; vii, [1], 424pp. Uncut and unopened. (Foxing). Publisher’s printed
paper boards, publisher’s ads on the rear cover, rebacked to style. Housed in cloth chemises and
slipcase. Provenance: M. S. Valentine (early signature and ink stamp).
First edition of the first history of the State of Georgia: an amazing survival in original boards.
McCall, the son of a Revolutionary war officer in the Continental Army, served in the U.S. Army between
1794 and 1815, and also as the Savannah city jailor from 1806-1823. He began his history of the state while
serving in both of those capacities, but suffering from poor health was unable to complete his work, with
but the first two volumes published. “Volume 1 contains the history of the State from 1584 to 1774; Volume
II brings it down to January, 1784. Both volumes are largely devoted to the history of the border wars with
the Creeks and Cherokees, with sketches of their chiefs and of the Loyalist refugees who led them. Much of
the material was obtained from the lips of survivors, and from manuscripts which are no longer accessible.
The whole forms the foundation for much of our present knowledge of the history of Georgia” (De Renne).
Although containing some factual inaccuracies, the work is noted for original source material not found
elsewhere. The lack of any archival collection of documents or correspondence, on which most historians
would rely in order to recreate a history on this scale, required McCall to gather informal and scattered
source material, including oral interviews with a number of Revolutionary War veterans.
“First history of this state ... Sabin erroneously collates the original edition as having a map” (Howes). “One
of the scarcest of the State histories. Its details of border warfare with the Creeks and Cherokees are copious,
authentic, and interesting” (Sabin).
McCall’s work is among the rarest of the early state histories, and is particularly scarce in original printed
paper boards.
De Renne I:343-345; Howes M33; Field 972; Sabin 42973; Streeter Sale 1161; Eberstadt 168:206 (this copy?).
(#28474) $ 2,900
17 [MARTHA’S VINEYARD, Stereoviews].
[Collection of 23 stereoscopic photographic views of the Wesleyan Grove Camp Ground on Martha’s
Vineyard].
[New Bedford or Fall River, MA: circa 1875]. 23 stereoviews (19 by Brownell & Adams of New Bedford,
3 by Joseph Warren of Fall River, 1 by S. F. Adams of New Bedford), on original photographers’s
mounts (approximately 3 3/8 x 6 7/8 inches).
Early photographs of the famed cottages of the Methodist camp ground on Martha’s Vineyard.
Open air Methodist meetings began being held near Oak Bluffs, Massachusetts on Martha’s Vineyard as
early as 1835. In the 1860s and 1870s, permanent wooden cottages began replacing the Society tents. The
present collection of stereoviews show scenes in Wesleyan Grove (now called Martha’s Vineyard Camp
Meeting Association), with many depicting families in front of their ornate Victorian cottages. Between
1859 and 1864 a new American building type, the “Martha’s Vineyard” cottage remarkable in its singularity
in appearance and structure, was developed at Wesleyan Grove. There were about 40 cottages in 1864, 250
in 1869 and 500 by 1880. Approximately 300 cottages are still extant.
(#27862) $ 1,500
18 MASON, George Champlin (1820-1894).
Newport and its Environs, illustrated by a series of views.
Newport: Chas. E. Hammett, 1848. Oblong folio. (12 1/8 x 16 7/8 inches). Tinted lithographic title
with vignette. 11 lithographic plates, all after Mason. Contemporary maroon cloth, upper cover with
centrally blocked panel containing title ‘Newport / and / environs’ lettered in gilt.
The earliest collection of Newport views by the prominent Newport architect, George Champlin Mason. These
views, a pastoral lithographic tour, are very rare, and are among the first to showcase the town as a recreational
haven.
OCLC cites only eleven plates and no descriptive text, and locates only four copies in institutional libraries.
Bartlett describes only a small format work by Mason: Newport Illustrated, in a Series of Pen & Pencil Sketches.
(New York, 1854).
“George Champlin Mason was a native of Newport and a man of many talents -- an artist, writer, and
prolific architect. Eventually, he took his son into partnership for the design of some of the finest homes and
estates in Newport dating from the second half of the nineteenth century. When in his twenties, the elder
Mason spent two years abroad, where he studied drawing and architecture in Paris, Florence, and Rome.
On his return, Mason prepared the drawings for his first published work, Newport and its environs. It was
designated “Volume I,” although there is no sign that a second volume ever materialized. All of the views
bear Mason’s signature and tend to emphasize -- with their attention to cows, ducks, sheep, streams, and
fishing -- the pastoral quality of Newport’s surroundings” (Deak).
Deak calls in error for twelve lithographs, plus the elaborate titlepage. The titlepage vignette which is
captioned “Fort Dumpling” is the subject of the first descriptive leaf, and is also included in the list of twelve
plates which appears across the top of the titlepage. It is not known who executed the lithography, but in the
lower margin of each text leaf, ‘Francis Hart, Printer,’ of New York is credited with the letterpress.
A complete list of the plates follows, in order of appearance:
1) “Fort Dumpling.” (title vignette).
2) “Newport from Fort Dunham.”
3) “Ellison’s Rock near Conrad’s Cave.”
4) “The Glen.”
5) “The Bluff Near Purgatory.”
6) “Newport Harbour, from the Blue Rocks.”
7) “Easton’s Beach.”
8) “Head Quarters of Genl. Prescott in 1777.”
9) “Coggeshall’s Ledge.”
10) “Old Stone Mill, Newport.”
11) “State House and Parade.”
12) “Whitehall.”
Bartlett p.182 (ref,); Bradford 3247; Deak, Picturing America 558; OCLC 36985187; Sabin 45442.
(#25549) $ 6,000
19 MATHER, Cotton (1663-1728).
Magnalia Christi Americana: or, the Ecclesiastical History of New-England, from its first planting in the
year 1620 unto the year of our Lord, 1698.
London: printed for Thomas Parkhurst, 1702. Folio (12 1/4 x 7 7/8 inches). Double-page engraved
map of New England and New York. Without errata leaves as usual. (Expert restoration to title
and map). Expertly bound to style in 18th-century calf, spine gilt in six compartments with raised
bands, brown morocco lettering-piece in the second compartment, the others with overall repeat
decoration in gilt, marbled endpapers. Provenance: William Clarke (signature on title); Elijah Liber
(signature on title).
First edition of the greatest history of New England: a landmark in colonial New England history,
The first edition of what Howes calls the “most famous 18th century American book” and one which Streeter
describes as “the most famous American book of colonial times.” Mather’s opus is rightly considered an
indispensable source for the history of New England in the 17th century, both for its biographies and its
history of civil, religious, and military affairs. The seven books include 1) the history and settlement of New
England; 2) the lives of its governors and magistrates; 3) biographies of “Sixty Famous Divines”; 4) a history
and roll of Harvard College; 5) a history of the Congregational Church in New England; 6) a record of the
remarkable providences revealing God’s direct influence in particular events in the colonies; and 7) the “War
of the Lord” dealing with the devil, the Separatists, Familists, Antinomians, Quakers, clerical imposters and
the Indians. Much of the book’s value rests in its incomparable wealth of detail regarding daily life in early
colonial New England. David Hall has referred to it as “a mirror of the 1690’s,” the decade in which most of
it was written. Far from being a dull chronicle of events, the Magnalia is full of lively biographical pieces,
vivid descriptions of the times, and many surprising sidelights. It has been mined by all modern scholars of
social history for its unsurpassed view of New England at the end of the 17th century.
The map, known as the “Mather map” is actually titled An Exact Mapp of New England and New York. The first
eighteenth-century general map of New England, it depicts an area from Casco Bay, west to the Hudson then
south to Manhattan and north west past Long Island to Martha’s Vineyard and Cape Cod, before heading
north again past Boston to Casco Bay. The information concerning the early roads is particularly valuable,
and the early versions of the spelling of the towns and rivers cast a fascinating light on the early topographic
nomenclature of colonial America.
Church 806; Grolier American 6; Howes M-391; Sabin 46392; Streeter Sale I:658.
(#18623) $ 12,000
20 MCKENNEY, Thomas Loraine (1785-1859) and James HALL (1793-1868).
History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the
Principal Chiefs. Embellished with One Hundred and Twenty Portraits from the Indian Gallery in the
Department of War, at Washington.
Philadelphia: Edward C. Biddle, 1836 [Vol. 1], Daniel Rice and James G. Clark, 1842 [Vol. 2], Daniel
Rice and James G. Clark, 1844 [Vol. 3]. 3 volumes, folio (20 1/8 x 14 inches). 120 hand-coloured
lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P.Rhindesbacher and
R.M.Sully, drawn on stone by A.Newsam, A. Hoffy, Ralph Trembley, Henry Dacre and others,
printed and coloured by J.T. Bowen and others, vol.III with two lithographic maps and one table
printed recto of one leaf, 17pp. of lithographic facsimile signatures of the original subscribers. With
a very rare publisher’s slip laid into vol. 2, signed in print by Edward Biddle and dated 17 October
1842, concerning the transfer of publication rights to Rice and Clark. Expertly bound to style in
green morocco over period green moire cloth covered boards, spine with raised bands in seven
compartments, lettered in the second and fourth, the others with a repeat decoration in gilt, marbled
endpapers.
A fine set of “One of the most costly and important [works] ever published on the American Indians” (Field),
“a landmark in American culture” (Horan) and an invaluable contemporary record of a vanished way of life,
including some of the greatest American hand-coloured lithographs of the 19th century.
After six years as Superintendent of Indian Trade, Thomas McKenney had become concerned for the survival
of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans
for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the
Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs
in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a
treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty
with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an
unparalleled opportunity to become acquainted with Native American tribes.
When President Jackson dismissed him from his government post in 1839, McKenney was able to turn
more of his attention to his publishing project. Within a few years, he was joined by James Hall, the Illinois
journalist, lawyer, state treasurer and from 1833 Cincinnati banker, who had written extensively about the
west. Both authors, not unlike George Catlin, whom they tried to enlist in their publishing enterprise, saw
their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which
was written by Hall based on information supplied by McKenney, takes the form of a series of biographies
of leading figures amongst the Indian nations, followed by a general history of the North American Indians.
The work is now famous for its colour plate portraits of the chiefs, warriors and squaws of the various tribes,
faithful copies of original oils by Charles Bird King painted from life in his studio in Washington (McKenney
commissioned him to record the visiting Indian delegates) or worked up by King from the watercolours
of the young frontier artist, James Otto Lewis. All but four of the original paintings were destroyed in the
disastrous Smithsonian fire of 1865 so their appearance in this work preserves what is probably the best
likeness of many of the most prominent Indian leaders of the early 19th century. Numbered among King’s
sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola.
This was the most elaborate plate book produced in the United States to date, and its publishing history is
extremely complex. The title pages give an indication of issue and are relatively simple: volume I, first issue
was by Edward C. Biddle and is dated 1836 (present copy) or more usually 1837, the second issue Frederick
W. Greenough with the date 1838, and the third issue is by Daniel Rice & James G. Clark dated 1842. Volume
II, first issue is by Frederick W. Greenough and dated 1838 and the second issue by Rice & Clark and dated
1842 (present copy). Volume III, first issue is by Daniel Rice & James G. Clark and dated 1844.
BAL 6934; Bennett p.79; Field 992; Howes M129; Lipperhiede Mc4; Reese Stamped With A National Character 24; Sabin
43410a; Servies 2150.
(#26608) $ 150,000
21 MORAGNE, M[ary] E[lizabeth] (1816-1903).
The British Partizan, A tale of the Times of Old.
Augusta, GA: Printed and Published by William T. Thompson, 1839. 12mo (6 3/8 x 4 inches). 150,
[2], v pp. Ad leaves for the Augusta Mirror in the rear. (Old dampstaining). Publisher’s patterned
brown cloth, rebacked to style. Housed in a modern full black morocco box.
Very rare first edition of a classic tale of the Revolution, written by a Southern woman.
This romantic tale, set against the backdrop of the American Revolution, originally appeared as a serial
in the Augusta Mirror. Most copies of the 1839 edition were purportedly destroyed in a flood. A second
edition was published in Macon, Georgia in 1864 under the author’s married name Davis. OCLC locates but
five copies of the first edition (including the copy in Hargrett Library of the University of Georgia which is
incomplete; a sixth copy cited in OCLC at Princeton is a microfilmed version of the copy at the Huntington
Library).
Sabin 50487 (second edition); De Renne II, p.664 (second edition); Wright I:839.
(#28473) $ 7,500
22 NOTMAN,
William (1826-1891, photographer); and William McFarlane NOTMAN (1857-1913,
photographer); and others.
Album containing 58 mounted albumen photographs of Canadian scenery, including many images in
the Canadian Rockies, as well as several images of Native Americans.
Canada: [circa 1890]. Oblong small folio (11 x 14 3/4 inches). 58 mounted albumen photographs (28
images with photographer’s credit in the negative [27 by Notman, 1 by Bailey Brothers of Vancouver]),
mounted recto and verso on 27 cards, most images measuring approximately 7x9 inches (49), the
remaining as small as 5 1/2 x 3 1/2 inches. All images captioned in manuscript on the mount below
the image. Expertly bound to style in half black morocco over period pebbled cloth covered boards,
upper cover lettered “Canada” in gilt.
An important photographic record of Canada from one of the country’s most important photographers: William
Notman.
The present album includes images assembled on a trip westward across the continent. Beginning with town
views on the east coast (including views in Quebec, Halifax, Montreal, Ottawa, Niagara and along the St.
Lawrence), the traveller proceeded inland via the Canadian Pacific Railway (Banff, Lake Louise) across the
Canadian Rockies to the Pacific coast (Vancouver and Victoria). Most notably, the album includes 25 views
in the Canadian Rockies, as well as three important images of Native Americans in that region.
“When he first started his business in 1856, Notman worked alone, with perhaps one assistant to help carry the
cumbersome camera, the portable dark tent and its equipment, and the heavy glass plates. But as the business
grew he enlarged his staff in the Montreal studio, maintaining an average of thirty-five and in the mid-1870s
increasing it to a peak of fifty-five. At any one time he had from six to eight photographers working for him,
some in the studio making portraits or doing copy work and others in the field. The latter group worked on
assignments most of which were largely speculative in nature: Notman relied on his knowledge of the market
for his choice of subjects, and on his faith in his photographers to render the views in a manner of which he
approved. Over the years he and his photographers ranged widely throughout eastern Canada to take views
of towns, villages, steamboats, railways, landscapes, waterfalls and the activities of the people” (Stanley G.
Triggs, text from the publication William Notman’s Studio. The Canadian Picture, McCord Museum, 1992).
Along with his sons, Charles F. Notman, George W. Notman, and William McFarlane Notman, he opened
studios in other Canadian and US cities, including seasonal ones at Yale and Harvard. He also regularly
contributed to the Philadelphia Photographer, and with the journal’s editor, Edward Wilson, formed the
Centennial Photographic Company to document the American centennial exhibition in 1876. When he died
in 1891, Notman’s photographic studio was taken over by his sons.
This album can be dated by the final images, which depict the launching of the S.S. Empress of India on
its maiden run to China and Japan. In 1890, the Canadian Pacific Railway and Great Britain negotiated a
contract to carry the mails between Great Britain and Hong Kong, with the purpose built Empress of India
built by the CPR subsidiary Canadian Pacific Steamships launching the following year.
The images comprise (titles from the manuscript captions):
1) Quebec - from Point Levis
2) Quebec - the Citadel from Queens Wharf
3) Quebec - Dufferin Terrace and Citadel
4) Quebec - St. Louis Gate
5) Breck-neck Steps [Quebec]
6) Wolfe and Montcalm monument [Quebec]
7) Montmorency Falls (near Quebec) in Winter
8) Montmorency Falls - near Quebec
9) Natural Steps - Montmorency river
10) Trinity Rock. Saguenay river
11) Halifax - general view from the Citadel
12) Victoria Square - Montreal
13) Notre Dame Church - Montreal
14) Dorchester Street in winter - Montreal
15) A Toboggan Slide - “The Spill” - Montreal
16) Steamer Passport shooting the Lachine Rapids
- St. Lawrence River
17) The Indian “Big John” and party shooting the
Lachine Rapids in a small boat
18) Steam “Algerian” running the Long Sault
Rapids - St. Lawrence River
19) Ottawa - Parliament buildings from Victoria
Point
20) “Castle Rest” “Nobby” and “Welcome”
Alexandria Bay - Thousand Islands - St. Lawrence
River
21) Rapids above Niagara Falls
22) Niagara Falls from Prospect point
23) Whirlpool rapids - below Falls - Niagara river
24) “Three Sisters” mountain - Canmore
25) Banff hotel and Bow river Rapids - Banff Hot
Springs - Alberta
26) Bow river Valley - from piazza of hotel at Banff
27) The swimming pool - Banff Hot Springs
28) Gibralter Point at Minniwonka or Devil’s Lake
- near Banff
29) Devil’s Creek Canyon [further annotated
below this image “E.M. took a header at this spot
while trout fishing”]
30) Inside the snow sheds on the Canadian Pacific
R.R.
31) Lake Louise
32) Mount Stephen
33) Emerald Creek
34) Mount Burgess and Emerald Lake
35) Mountain Creek Bridge
36) The “Chancellor” mountain - Leanchoil
37) Mounts Fox and Dawson and the Donkin
Glacier
38) Lower “Kicking Horse” Canon on the line of
the Can: Pac: R. R.
39) Tunnel in Lower “Kicking Horse” Canon. Can:
Pac: R. R.
40) The “Loop” - from upper track. Can: Pac: R. R.
41) The Columbia Canon - near Donald
42) The “Loop” showing four tracks. Can: Pac: R.
R.
43) Glacier House and Station and Mount Sir
Donald glacier
44) Hermit Range from Glacier House
45) The Great Glacier of the Selkirks near Glacier
House
46) The Frazer river above Yale
47) Hell’s Gate - Frazer Canon
48) The town of Yale - on Frazer river
49) “Kenepequoshes” (Son of a Snake) Gree [i.e. Cree] Indian family with pony
50) A Blackfoot brave and tepee
51) “Astokumi” and family - Sarcee Indians
52) Town of Vancouver - from Hotel Vancouver
53) Hotel Vancouver - Vancouver
54) City of Victoria - from Government buildings
55) S. S. Empress of India
56) Library S.S. Empress of India
57) Dining saloon - S.S. Empress of India
58) Departure of S.S. Empress of India from Vancouver for Japan and China
Cf. Gordon Dodds, Roger Hall and Stanley G. Triggs. The World of William Notman, Toronto, McClelland and Stewart, 1992;
cf. Ralph Greenhill & Andrew Birrell. Canadian Photography 1839-1920. Toronto, 1979, particularly plate 30; cf. Harper, Russell
and Stanley G. Triggs Portrait of a Period, Montreal, McGill University Press, 1967; cf. Stanley G. Triggs. William Notman: The
Stamp of a Studio, Toronto, Art Gallery of Ontario and Coach House Press, 1985; cf. Stanley G. Triggs. William Notmans Studio.
The Canadian Picture, McCord Museum, 1992.
(#28377) $ 14,500
23 RAE, Julio H. (fl. 1851-1925).
Rae’s Philadelphia Pictorial Directory Panoramic Advertiser. Chestnut Street, from Second to Tenth
Streets [wrapper title].
[Philadelphia]: Julio H. Rae, [1851]. Oblong quarto (9 3/8 x 13 3/4 inches). [23]pp. text and sixteen
lithographed plates (several folding). Original gold-printed black wrappers bound in. Contemporary
cloth, label on front cover printed gold on black glossy paper, neatly rebacked. Housed in a moroccobacked cloth box. Provenance: John McAllister (booklabel).
An incredible city directory and business promotional, illustrating eight blocks of Chestnut Street in downtown
Philadelphia on sixteen beautifully executed lithographs.
Following in the long tradition of the city directory but taking it to new heights, publisher Julio H. Rae
produced the first truly visual directory of an American city. Each plate depicts a block or a portion of a
block of Philadelphia’s main commercial thoroughfare, between 2nd and 10th streets. Both sides of the
block are pictured, and each plate is keyed to an accompanying text leaf carrying advertisements from the
merchants depicted. Taller buildings are shown in their complete elevation on folding plates, with the
grandest plate folding out vertically and horizontally and showing the State House. A note on the facade
of the building reads: “Declaration of Independence signed in this room.” While not every merchant on
Chestnut Street subscribed to the work, leaving some buildings unadorned on the plates, Rae’s work carries
advertisements for all manner of businesses, from hatters, jewelers, tailors, and grocers, to hotels, druggists,
daguerreotypists, and Welch’s National Circus and Theatre. Rae intended to update his Chestnut Street
directory each year, showing changes in the businesses, and also announced a similar work covering Market
Street from the Delaware River to Broad Street. Apparently he was too ambitious, and neither project came
to fruition. Rae was not exaggerating, though, in his preface when he wrote that he “felt confident that he
has hit upon a system not only novel and beautiful, but exceedingly useful, and one of which he believes to
be entirely unique.”
This copy bears the ownership markings of noted Philadelphia collector John A. McAllister (1822-1896),
whose spectacles and mathematical instrument shop appears in the directory on the very first plate. A
magnificent work, which heralded a new era in display advertising, and a nice association copy.
Miles & Reese, America Pictured to Life 75.
(#28374) $ 5,000
24 SAYER, Robert and John BENNET (publishers).
The American Military Pocket Atlas; being an approved collection of correct maps, both general and
particular, of the British Colonies; especially those which now are, or probably may be the Theatre of
War: Taken principally from the actual surveys and judicious observations of engineers De Brahm and
Romans; Cook, Jackson, and Collett; Maj. Holland, and other officers.
London: Printed for R. Sayer and J. Bennet, [1776]. Octavo (10 5/8 x 8 1/4 inches). Letterpress
text: title (verso blank), 2pp. dedication to ‘Gov. Pownall’, 2pp. ‘Advertisement’, 1p. ‘List of maps’
(verso blank). 6 folding engraved maps, all hand-coloured in outline. Period mottled calf backed
paper covered boards, spine with raised bands in six compartments, red morocco lettering piece in
the second (a bit worn). Housed in a black morocco box. Provenance: Louis Charles Desnos (18th
century circular bookseller label on front free endpaper).
The Holster Atlas: one of the most important atlases of the American Revolution designed for use in the field.
The Holster Atlas was issued at the suggestion of Governor George Pownall and included the “maps that the
British high command regarded as providing essential topographical information in the most convenient form”
(Schwartz & Ehrenberg).
This collection of maps was published by Sayer and Bennet at the beginning of the Revolution for the use
of British officers. “Surveys and Topographical Charts being fit only for a Library, such maps as an Officer
may take with him into the Field have been much wanted. The following Collection forms a Portable Atlas of
North America, calculated in its Bulk and Price to suit the Pockets of Officers of all Ranks” (Advertisement).
Although the publishers claimed the atlas would fit into an officer’s pocket, it was more usually carried in a
holster and thus gained its nick-name.
The six maps are as follows:
1. DUNN, Samuel. ‘North America, as divided amongst the European Powers. By Samuel Dunn,
Mathematician London: printed for Robt. Sayer, 10 Jany. 1774.’ Engraved map, hand-coloured in outline,
in six unequal sections (sheet size: 13 3/4 x 19 inches). Engraved for Dunn’s ‘A New Atlas’ (London: 1774).
2. DUNN, Samuel. ‘A compleat map of the West Indies, containing the coasts of Florida, Louisiana, New
Spain, and Terra Firma: with all the islands.’ London: Robt. Sayer, 10 January 1774. Engraved map, handcoloured in outline, in six unequal sections (sheet size: 13 1/8 x 19 inches). Engraved for Dunn’s ‘A New
Atlas’ (London: 1774).
The ‘Advertisement’ describes these first two maps as ‘a general map of the part of the globe, called North
America, and a second general map of those islands, shores, gulfs, and bays, which form what is commonly
called the West Indies; these we consider as introductory, and as giving a general idea, and we trust a just
one.’
3. ‘A general map of the Northern British Colonies in America. which comprehends the Province of Quebec,
the Government of Newfoundland, Nova-Scotia, New-England and New-York. from the maps published by
the Admiralty and Board of Trade, Regulated by the astronomic and trigonometric observations of Major
Holland and corrected from Governor Pownall’s late Map 1776. London: Robt. Sayer & Jno. Bennet, 14
August 1776.’ Engraved map, hand-coloured in outline, in eight unequal sections (sheet size: 20 1/2 x 27 1/2
inches). First state, also issued as a separate map. This map was re-issued in 1788 with the title changed to
reflect the new political realities. McCorkle New England 776.11; Sellers & Van Ee 143; Stevens & Tree 65
4. EVANS, Lewis. ‘A general map of the Middle British Colonies, in America. containing Virginia, Maryland,
the Delaware Counties, Pennsylvania and New Jersey. With the addition of New York, and the greatest part
of New England, as also of the bordering parts of the Province of Quebec, improved from several surveys
made after the late war, and corrected from Governor Pownall’s late Map 1776. London: R. Sayer & J. Bennet,
15 October 1776.’ Engraved map, hand-coloured in outline, in eight unequal sections (sheet size: 20 1/4 x 27
3/4 inches). Based on Lewis Evans’ map of 1755, with additions and corrections. Cf. Stephenson & McKee
Virginia p.82 (an image of the Evans map)
5. ROMANS, Bernard. ‘A general map of the Southern British Colonies, in America. comprehending North
and South Carolina, Georgia, East and West Florida, with the neighbouring Indian countries. From the
modern surveys of Engineer de Brahm, Capt. Collet, Mouzon & others; and from the large hydrographical
survey of the coasts of East and West Florida. By B. Romans. London: R.Sayer & J. Bennett [sic.], 15 Octr.
1776.’ Engraved map, hand-coloured in outline, eight unequal sections (sheet size: 20 3/4 x 27 inches). Based
on charts and maps by Roman and others.
6. BRASSIER, William Furness (1745-1772). ‘A Survey of Lake Champlain including Lake George, Crown
Point and St. John, Surveyed by order of ... Sr. Jeffery Amherst ... by William Brassier, draughtsman. 1762.
London: Robt. Sayer & Jno. Bennet, 5 Aug., 1776.’ Engraved map, hand-coloured in outline, on eight unequal
panels (27 3/4 x 20 3/8 inches). Also issued as the first separately published map of Lake Champlain, this
excellent detailed chart was based on a survey made during the French and Indian War, but not published
until the Revolution. Included is an inset illustrating America’s first naval battle, in which General Benedict
Arnold, though forced back down the lake, was able to delay the British attempt to descend to the Hudson
for that year. No mention, of course, is made of Ethan Allen’s taking of Fort Ticonderoga in 1775.
Unusually, the present example with contemporary 18th-century provenance to a French bookseller.
Fite & Freeman A Book of Old Maps pp.212-216; Howes A208; Nebenzahl Atlas of the American Revolution pp.61-63; Phillips
Atlases 1206; Rumsey p.311; Sabin 1147; Schwartz & Ehrenberg p.190; Streeter Sale 73.
(#25956) $ 22,500
25 WEBSTER, Noah (1758-1853).
An American Dictionary of the English Language.
New York: published by S. Converse, printed by Hezekiah Howe of New Haven, 1828. 2 volumes,
quarto (11 1/16 x 9 inches). Engraved portrait frontispiece of Webster by A.B. Durand after S.F.B.
Morse at the front of vol.I, “Additions and Corrections” leaf bound at the end of vol.II. Expertly
bound to style in half russia over period marbled paper covered boards, spine with raised bands,
lettered in the second and fourth compartments.
First edition of the most important American dictionary, the “most ambitious publication ever undertaken, up
to that time, upon American soil” (Grolier “American 100”) and a prize to be cherished by any American who
cares about their native tongue.
The American Dictionary was printed in an initial edition of just 2500 copies, uncut in boards or full calf, at
$20 for the two volumes. Importantly, the present copy includes the “Additions and Corrections” leaf at the
end of the second volume, which is sometimes lacking. Webster’s best-known work is significant for a string
of reasons: according to Printing and the Mind of Man the Dictionary “at once became, and has remained,
the standard English dictionary in the United States... [it also] marked a definite advance in modern
lexicography, as it included many non-literary terms and paid attention to the language actually spoken ... In
fact, Webster succeeded in breaking the fetters imposed upon American English by Dr. [Samuel] Johnson,
... to the ultimate benefit of the living languages of both countries”. To sum up: the American Dictionary was
“one of the great contributions towards mass education ... [in the United States, placing] correct spelling and
usage within the reach of Everyman” (Grolier American 100).
Noah Webster, teacher, lawyer and lexicographer, was also “an ardent nationalist and he wanted to stress the
political separation from England by the cultivation of a separate American language” (PMM). Starting work
on the American Dictionary in 1800, “Webster set a new standard for etymological investigation, and for
accuracy of definition (‘a born definer of words’ - Sir James Murray), and included 70,000 words, as against
the 58,000 of any previous dictionary.” (Grolier American 100). This two-volume quarto dictionary represents
the culmination of Webster’s indefatigable dedication to providing his country with its first comprehensive
modern dictionary. The valuable introductory material contains his thesis on the development of languages,
and also his philosophical and practical grammar of the English language.
Grolier American 100 36; Printing & the Mind of Man 291; Sabin 102335; Skeel 583.
(#27070) $ 22,500
26 WOOD, William (1580-1639).
New Englands Prospect. Being a true, lively, and experimental Description of that part of America,
commonly called New-England.
Boston: Thomas and John Fleet ... and Green and Russell, 1764. 8vo (7 3/4 x 4 1/2 inches). [2], xviii,
128 pp. Expertly bound to style in half period russia over period marbled paper covered boards, flat
spine ruled in gilt, black morocco lettering piece in the second compartment.
The scarce first American edition of Wood’s New England’s Prospect: one of the classic works on early New
England, with an important preface defending colonial rights.
The first edition of this remarkably accurate work was published in 1634. According to Vail it includes the
earliest topographical description of the Massachusetts colony. It is also the first detailed account of the
animals and plants of New England, as well as the Indian tribes of the region. Of particular note is a chapter
describing the customs and work of Indian women. Part One is divided into twelve chapters and is devoted
to the climate, landscape, and early settlements, and describes in some detail the native trees, plants, fish
game and mineral ores, as well as including advice to those thinking of crossing the Atlantic. The early
settlements described include: Boston, Medford, Marblehead, Dorchester, Roxbury, Medford, Watertown,
New and Old Plymouth. Part Two is devoted to the native inhabitants, and is divided into twenty chapters.
The tribes described are the Mohawks, Connectecuts, Pequants and Narragansetts. Again Wood goes into
some detail describing the clothing, sports, wars, games, methods of hunting and fishing, their arts, and
ending with their language: the work ends with a five-page vocabulary of Indian words, one of the earliest
published for New England.
“Little is known of the author. The dedication to Sir William Armine, Bart., of Lincolnshire, may indicate
that Wood was also from there. He was resident in New England, perhaps primarily in Lynn, from 1629 to
1633, when he returned to London to publish his book. He may have returned to New England afterward.
The General Court of Massachusetts Bay voted thanks to him on the appearance of New England’s Prospect.
The exceptional charm and vivacity of Wood’s writing, including flights of verse, is widely acknowledged”
(Siebert Sale).
Although stated on the title as the Third Edition, it is actually the fourth, following London editions of 1634,
1635 and 1639 (this edition based on the 1639 printing); this edition published without the map found in
the previous. The reasons for the publication of this edition in America -- one hundred and thirty years
after its first printing -- was the revolutionary sentiment brought about by the passage of the Sugar Act.
This is proven by the introduction that contains a nuanced argument in favor of colonial rights. The 18page Introductory Essay, which is signed in print with the pseudonym “Plaut.”, has been ascribed to both
James Otis and Nathaniel Rogers. Recent scholarship, however has firmly attributed the essay to Rogers
(see Phillip Round’s article “The Discursive Origins of the American Revolution: The Case of Nathaniel
Rogers, Merchant of Boston” in Early American Literature, Vol. 30, No. 3 (1995), pp. 233-263) and argues
that Wood’s classic work on New England’s founding was prefaced with meliorist arguments in favor of
colonial rights to present a dichotomy between the 17th century colonial past and the pre-Revolutionary
present to “update New England’s cultural identity on his own terms.”
Evans 9884; Pilling 4201; Sabin 10507; Phillip Round, “The Discursive Origins of the American Revolution: The Case of Nathaniel
Rogers, Merchant of Boston” in Early American Literature, Vol. 30, No. 3 (1995), pp. 233-263
(#28326) $ 2,750
VOYAGES & TRAVEL
27 ALLOM, Thomas (1804-1872, illustrator) - George Newenham WRIGHT (1790?-1877).
China, in a series of views, displaying the scenery, architecture, and social habits of that ancient empire.
Drawn, from original and authentic sketches, by Thomas Allom… with historical and descriptive notices
by the Rev. G.N. Wright.
London & Paris: Fisher, Son, & Co., [circa 1843]. 4 volumes in two, quarto (10 5/8 x 8 1/4 inches).
4 steel-engraved additional titles, 124 steel-engraved plates by A. Willmore, S. Bradshaw, J. Sands, E.
Brandard, W.H. Capone, W.A. Le Petit and others after Chinese artists (5) or Thomas Allom (119)
22 of Allom’s drawings taken from sketches by Capt. Stoddart [15], Lieu. White [6] or R. Vareham
[1]). (Light foxing). Contemporary tan morocco, covers with an elaborate pagoda design in gilt,
spines in six compartments with raised bands, lettered in the second and fourth compartments, the
others with repeat decoration in gilt, pale yellow endpapers, gilt edges. Skilfully rebacked, preserving
original spine. Provenance: H. & A. Allen (period inscription on endpaper from K. F. Humphries).
A fine set of this classic 19th-century work on China profusely illustrated with steel engravings from the pencil
drawings of Thomas Allom, here in a beautiful contemporary binding.
Thomas Allom, architect and architectural draughtsman, produced the fine drawings of Chinese landscape,
architecture and local life with which this work is illustrated and is justly famous. The English, French and
German titling to the plates is an indication of the wide market which existed for these views at the time
of publication. The main descriptive text is by the Rev. George Wright, but this is preceded by an extensive
seventy-two page account of the life of Kang-He, Emperor of China by the Rev. Mr. Gutzlaff. Allom’s China
is arguably the most complete portrait of Chinese culture to the mid-nineteenth century. The engravings
depict architecture and scenic views principally in the South-East (Hong Kong, Canto, Macao, Nanjing, and
Shanghai) but also include several images of Peking and Yehol.
The binding is an extraordinary example of a deluxe binding of the period.
(#28278) $ 4,500
28 BLIGH, William (1754-1817).
A Narrative of the Mutiny, on board His Majesty’s Ship Bounty; and the subsequent voyage of part of the
crew, in the ship’s boat, from Tofoa, one of the Friendly Islands, to Timor ... in the East Indies.
London: for George Nicol, 1790. Quarto (12 1/4 x 9 7/8 inches). 3 engraved charts (2 folding) after
William Harrison, engraved by J. Walker, 1 engraved plan of the Bounty’s 23-foot launch. Uncut.
(Light scattered foxing). Later half dark blue crushed morocco over blue cloth boards, spine lettered
in gilt. Provenance: William Cavendish-Bentinck, 6th Duke of Portland (armorial bookplate).
First edition of Bligh’s account of the famous mutiny, and the incredible voyage which followed: a tall uncut copy.
Although the mutiny is now the best known incident, the most remarkable part of the narrative is undoubtedly
Bligh’s account of the voyage in the Bounty’s launch. His achievement of safely navigating an open vessel
packed with 19 men a distance of 4,000 miles without serious mishap is almost without parallel in the history
of ocean travel. He not only piloted the boat to safety but “In the course of this hazardous journey Bligh
took the opportunity to chart and name parts of the unknown north-east coast of New Holland as he passed
along it” (Wantrup, p.128). The resulting chart of the “NE Coast of New Holland” was first published in the
present work.
Du Reitz p.44; Ferguson 71; Hill 132; Kroepelian 87; Wantrup 61.
(#28656) $ 13,000
29 BORGET, Auguste (1809-1877).
La Chine et les Chinois, dessins exécutés d’après nature par Auguste Borget et lithographiés à deux
teintes par Eugène Ciceri.
Paris: Goupil & Vibert, 1842. Folio (22 3/8 x 15 5/8 inches). Mounted on cloth guards throughout.
26pp. letterpress text. Engraved title, tinted lithographic pictorial title, lithographic dedication to
Louis Philippe, lithographic facsimile of letter from Borget to Louis Philippe, contents leaf, 32 tinted
lithographic plates by Ciceri after Borget on 25 sheets. Early half morocco over period cloth boards,
spine panelled in gilt and black, expertly rebacked with original spine laid down, glazed yellow
endpapers. Provenance: M. Guizot (inked stamp on title).
An important early record of the landscape and people of Hong Kong and its environs.
Lust notes that the fine plates are remarkable for the lack of that “feeling of superiority to the Chinese,
so characteristic of accounts from the 1840... The artist observes with a fresh eye.” The plates include five
specific Hong-Kong views, and the others relate to Macao and Canton and the Pearl River. An English
version (Sketches of China and the Chinese [Abbey Travel II, 540]) was published in the same year.
Borget, who was a pupil of Jean-Antoine Gudin and a close friend of Honoré de Balzac, journeyed around
the world in 1836, travelling through South America and Hawaii before reaching the China coast in August
1838. In the fall of 1838, fellow artist William Prinsep went sketching with Borget in Macao, remarking that
he found the Frenchman’s portfolio “rich with scenes from South America, Sandwich Islands and China,
and he was a pleasant fellow into the bargain.” He continued his circumnavigation in July 1839 with a visit
to Manila, and then sailed for India via Singapore and the Straits of Malacca, eventually returning to Paris
in the summer of 1840.
Brunet I, 1113; Colas I, 390; Cordier Sinica I, 79/80; Bobins,The Exotic and the Beautiful II, 283; R. Hutcheon & G. Bonsall
Souvenirs of Auguste Borget [1979]; Stravides Auguste Borget peintre-voyageur autour du monde [1999]; Lust 211; Howgego II:
B46.
(#28595) $ 39,500
30 BURNEY, James (1750-1821).
A Chronological History of the Discoveries in the South Sea or Pacific Ocean.
London: Printed by Luke Hansard for G. & W. Nicol [and others], 1803-1806-1813-1816-1817.
5 volumes, quarto (11 5/8 x 9 1/4 inches). 41 engraved maps and plates (18 folding), 6 woodcut
illustrations. Expertly bound to style in half calf over marbled paper covered boards, flat spines
divided into compartments with gilt roll tools, red and green morocco lettering pieces in the second
and fourth compartments, the others with an overall repeat decoration in gilt, early blue-gray
endpapers. Provenance: Sir Thomas Burch Western (armorial bookplate).
The most important history of early Pacific discoveries containing “practically everything of importance” (Hill).
This important work was encouraged by Sir Joseph Banks, and Burney, who sailed as a lieutenant on Cook’s
second and third voyages, was given unfettered access to Banks’ extraordinary collection of books and
manuscripts. Many of the accounts published by Burney remain unavailable elsewhere. The present work
therefore is one of the chief published authorities on Pacific exploration. Burney covers the 250 years of
exploration before Cook, beginning with Magellan and ending with Bougainville. Detailed accounts of the
Spanish, French, English, and Dutch voyages are included, and the whole is well-illustrated with maps and
views. The fourth volume containing Burney’s history of pirates, was particularly popular, and would be
republished in 1816 as a separate work titled History of the Buccaneers of America (London: 1816).
The volumes are arranged chronologically as follows: Volume 1, from the Earliest Discovery of the Pacific by
Europeans to the voyage of Sir Francis Drake in 1579; Volume 2, from 1579 to 1620 (Sarmiento de Gamboa,
Thomas Cavendish, Merick, Quiros, Spilbergen, Schouten, Le Maire, Nodal, etc.); Volume 3, from 1620 to
1688 (the Nassau Fleet, Kwast, Tasman, Brouwer, Narborough, Peche, La Roche, etc.); Volume 4, from 1688
to 1723 (Buccaneers: Spaniards in Hayti, Careri, Halley, Dampier, Woodes, Rogers, Frezier, etc.); Volume 5,
from 1723 to 1764 (New Philippine Islands, Bouvet, Anson, Bougainville, etc.).
Ferguson 372; Hill (2004) 221; Hocken pp.30-34; Howes B1002, “c.”; Sabin 9387.
(#28597) $ 18,500
31 COOK, Capt. James (1728-1779) and Captain James KING.
A Voyage to the Pacific Ocean, for making Discoveries in the Northern Hemisphere. Performed under
the Direction of Captains Cook, Clerke, and Gore, in His Majesty’s Ships the Resolution and Discovery;
in the Years 1776, 1777, 1778, 1779, and 1780.
London: H. Hughs for G. Nicol and T. Cadell, 1785. 4 volumes (Text: 3 vols., quarto [11 3/8 x 9
1/4 inches]; Atlas vol. of plates: 1 vol., large folio [21 x 14 7/8 inches]). Text: engraved medallion
portrait vignettes on two titles, 1 folding letterpress table, 24 engraved maps, coastal profiles and
charts (13 folding). Atlas vol.: 63 engraved plates, plans and maps (one double-page, one folding).
Text: contemporary speckled calf, the flat spines divided into six compartments by single gilt
fillets, red morocco lettering-piece in the second compartment, green morocco label in the fourth
with the volume number, expert repairs to joints; Atlas: expertly bound to style in half speckled
calf over contemporary marbled paper-covered boards, the flat spine tooled to match the text
volumes and divided into 8 compartments by single gilt fillets, red morocco lettering-piece in the
2nd compartment, green morocco label with the word ‘Atlas’ in the 4th compartment. Provenance:
Francis Earl of Killmorey (19th-century armorial bookplate in each text volume).
A fine copy of the second and best edition of the text of the official account of Cook’s third and last voyage
including images of and text on the exploration of Hawaii and the west coast of America, Canada and Alaska.
“Cook’s third voyage was organized to seek the Northwest Passage and to return [the islander] Omai to Tahiti.
Officers of the crew included William Bligh, James Burney, James Colnett, and George Vancouver. John
Webber was appointed artist to the expedition. After calling at Kerguelen Island, Tasmania, New Zealand,
and the Cook, Tonga, and Society Islands, the expedition sailed north and discovered Christmas Island and
the Hawaiian Islands, which Cook named the Sandwich Islands. Cook charted the American west coast
from Northern California through the Bering Strait as far north as latitude 70 degrees 44 minutes before
he was stopped by pack ice. He returned to Hawaii for the winter and was killed in an unhappy skirmish
with the natives. Charles Clarke took command and after he died six months later, the ships returned to
England under John Gore. Despite hostilities with the United States and France, the scientific nature of this
expedition caused the various governments to exempt these vessels from capture. The voyage resulted in
what Cook judged his most valuable discovery - the Hawaiian Islands” (Hill).
The typography of the second edition text of the third voyage is generally considered superior to the first
(Hughs took over the printing from Strahan and re-set all the text). Contemporary support for this view is
reported by Forbes who quotes an inscription in a set presented by Mrs. Cook to her doctor, Dr. Elliotson,
which notes that “the letter press of the second edition being much superior to the first both in paper & letter
press.”
Beddie 1552; Forbes 85; Hill (2004) 361 (first edition); cf. Lada-Mocarski 37; cf. Sabin 16250.
(#19583) $ 25,000
32 (COOK, Captain James [1728-1779]) - John HAWKESWORTH (1715-1773).
A New Voyage, Round the World, In the Years 1768, 1769, 1770, and 1771; undertaken by order of his
present Majesty, performed by, Captain James Cooke, in the ship Endeavour, drawn up from his own
journal, and from the papers of Joseph Banks.
New York: printed by James Rivington, 1774. 2 volumes, octavo (7 3/8 x 4 1/4 inches). [2],17,4,[2],260;
[2],250pp. 2 folding engraved frontispieces (one engraved by Paul Revere), 1 folding world map
engraved by Bernard Romans. Contemporary speckled calf, rebacked, gilt leather label.
Rare first American edition of Cook’s First Voyage, with a plate engraved by Paul Revere and the first world map
to be published in America.
The first American edition of any of Cook’s voyages, issued in New York on the eve of the American
Revolution by the Loyalist printer, James Rivington. The work contains one of Paul Revere’s more exotic
copper plate engravings and the first world map printed in the Americas. Hawkesworth’s account of Capt.
James Cook’s first voyage to the Pacific first appeared in 1773. One of the most important publications
in all of the literature of exploration and voyages, it describes Cook’s important explorations of Australia,
discovery of New Zealand, adventures on Tahiti, and a wealth of other material. The tremendous interest
in the voyage is reflected in this American edition, only the second work devoted to Pacific exploration to
be published in an American edition. “The frontispiece by Paul Revere and the Romans map make this a
distinguished book” (Streeter).
The publisher, Rivington, later famous as the New York Loyalist printer of the Revolution, made every effort
to make this product of the British colonial press as elegant as possible.
The folding frontispiece to the first volume is by the Revolutionary hero, silversmith and engraver, Paul
Revere. It is a version of plate 7 by F. Bartolozzi that is usually found facing p.265 in vol.II of the first English
edition. According to Clarence Brigham, Revere worked from a reduced reversed version of this plate
published in The Town and Country Magazine (June, 1773, vol.V, p.313), a copy of which was sent to him
by the publisher Rivington (via Henry Knox of Boston) in April 1774. Rivington asked that Revere engrave
the image “with all the ability in his power and let it be done as soon as possible” (letter to Knox, dated 8
April 1774). The final result (about fifty per cent smaller than Bartolozzi’s original) amply demonstrates the
charming naïveté that is such a hallmark of Paul Revere’s work. Revere’s day book shows that he charged £40-0 for the plate (see 3 May 1774 entry). Importantly, the plate is the first visual image of the South Seas to
be printed in America.
The folding frontispiece to the second volume is unsigned, but is a composite of two images that both
originate with drawings by Sydney Parkinson, the official draughtsman/artist on the voyage. The image
is divided in two vertically: the left side of the plate is of a New Zealander. The original of this image was
eventually engraved by T. Charles and published in Parkinson’s A Journal of a Voyage (London: 1784) facing
p.88. The right side is of two Australian aboriginals. The original of this image was also engraved by T.
Charles and in Parkinson’s work opposite p.134.
The untitled map is the first map of the world to be published in the Americas. A Mercator projection
designed to show the track of Cook’s voyage, it also shows the course charted by Bougainville as well. It was
designed and engraved by the famous American mapmaker, Bernard Romans, best known for his work as
a naturalist and cartographer in Florida, as well as his sailing directions of the East Coast and an engraved
map of Connecticut. A rare American cartographic landmark, found as originally published in the first
American edition of any of Cook’s voyages, itself a significant issue of the late British colonial press.
Beddie 656; Brigham Paul Revere’s Engravings pp 102-105; L. Diamant Bernard Romans pp.29-30; Evans 13324; Holmes 9;
Sabin 30936; Streeter Sale 2407; Wheat & Brun Maps and Charts Published in America before 1800 1.
(#28258) $ 22,500
33 [COOK,
James (1728-1779)] (1751-1789).
John LEDYARD
A Journal of Captain Cook’s Last Voyage to the
Pacific Ocean, and in Quest of a North-West
Passage, Between Asia & America performed in
the years 1776, 1777, 1778, and 1779.
Hartford: printed and sold by Nathaniel Patten,
1783. 8vo (6 3/4 x 4 3/8 inches). 208pp. (Without
the folding map, as usual). Expertly bound to
style in full period tree calf, covers bordered with
a gilt double fillet, flat spine in six compartments
divided by gilt rules, red morocco lettering piece
in the second.
First edition of the first American book on Hawaii
and the northwest coast of America, and the only
American account of Cook’s third voyage.
John Ledyard was the only American to serve on
Cook’s third voyage, aboard the Resolution, as a
Corporal of marines, and witnessed Cook’s death
in Hawaii as he was one of the oarsman of the boat
Cook took ashore. On the expedition’s return, all
the journals were retained by the British Admiralty,
but, after he returned to his family in Connecticut,
Ledyard was persuaded to rewrite his journal from
memory, which was then published. Although
believed by some to be based partially on Rickman’s
narrative, Ledyard’s journal contains information not available elsewhere, including the first published
description of the Russian settlement at Unalaska.
“Ledyard is an important figure in the history of American contacts in the South Seas. Not only was he the
first New Englander in the Pacific, but he went there with the great Captain Cook, and was with him when
Hawaii was discovered. Ledyard visualized in the minutest detail the northwest coast-China trade” (Hill).
Ledyard went on to carry out some remarkable overland journeys, before accidently killing himself in Cairo
by drinking vitriol.
Ledyard’s Journal is a noted rarity and copies with the map are almost unknown in today’s market (and
possibly not issued with all copies).
Beddie 1603; Evans 17998; Forbes I, 52; Hill (2004) 991; Howes L181; Lada-Mocarski 36; Sabin 39691; Streeter Sale 3477;
Wickersham 6556; Davidson, pp 64-5; Judd 108.
(#27871) $ 20,000
34 DILLON, Peter (1788-1847).
Narrative and Successful Result of a Voyage in the South Seas, Performed by Order of the Government
of British India, to Ascertain the Actual Fate of La Perouse’s Expedition.
London: Hurst, Chance and Co., 1829. Two volumes, 8vo (8 1/4 x 5 1/4 inches). lxxviii,302pp. plus
errata; [2],436pp. Three lithographed plates (two folding, one hand colored), and a folding map of
Mannicolo. Lacks half title in first volume. Uncut. (One plate reinforced along the folds on verso).
Modern half blue morocco over blue cloth by Aquarius, spines with raised bands, lettered in the
second and fourth compartments, the others with a repeat decoration in gilt, top edge gilt, marbled
endpapers.
Scarce narrative of the expedition which discovered the wrecks of La Boussole and L’Astrolabe, the two French
frigates of the La Pérouse expedition.
Forty years after the disappearance of La Perouse, Dillon, a sandalwood trader, was shown a sword hilt in
the Solomon Islands which raised his suspicions about the fate of La Perouse. He organized an expedition in
Bengal and sailed back via Tasmania, New Zealand, and Tonga. He was able to assemble enough evidence
from natives, both in testimony and artifacts, to determine where La Perouse had grounded. One of the
ship’s relics, a glass piece from a thermometer, became a native’s nose piece (depicted on a folding plate).
Along the way Dillon was involved in a terrific legal row with the government of Tasmania, also reported
in detail. He provides a scathing examination of the legal system of Tasmania and New South Wales, finally
declaring Australia “a land of corruption and injustice.” For his efforts, France made Dillon a chevalier of the
Legion of Honor, his expenses were defrayed, and he was granted a decent pension.
Hill, p.83-84; Ferguson 1336; Abbey 598; Hocken, p.44; Sabin 20175.
(#28646) $ 3,250
35 [EGYPT] - William ROBERTSON.
[An album of 45 annotated drawings and relief impressions on paper of archaeological remains in Egypt
and Nubia].
[Egypt: 1838-1839]. Folio (18 1/2 x 14 inches). 29 leaves bearing drawings and sketches in pen and
ink, wash and pencil, some with hand colouring; plus 12 loosely-inserted sheets of various sizes
bearing drawings and sketches in pen and ink, wash and pencil, some with colouring; 3 looselyinserted sheets of various sizes bearing impressions of carvings; and a plan. Signed by Robertson and
dated on the front free endpaper. (Some leaves with slight fraying and browning at edges). Expertly
bound to style in half black morocco over period marbled paper covered boards. Provenance:
Christie’s London, 19 November 2002, lot 44, £14,340.
A fine early-nineteenth-century album of original drawings and relief impressions of Egyptian archaeological
remains, made during a journey along the Nile from Wadi Halfa to Luxor.
Robertson’s drawings show a grounding in the principles of perspective and draughtsmanship, possibly
gained in the course of military service. The references in the margins of the album leaves (and notes to
the drawings that appear to have been added later) suggest that he was an enthusiastic student of ancient
Egyptian history, and the album cites contemporary works on Egypt and Nubia by David Roberts, Achille
Prisse d’Avennes, G.B. Belzoni, and others.
The album was compiled during the course of a journey along the Nile. The endpaper bears the inscription
Cairo, December 1838, suggesting that Robertson travelled down the Nile from Cairo, and then returned at
a slower pace from Wadi Halfa to Luxor, recording the archaeological sites en route between the two points.
The bulk of the drawings and rubbings contained in the album can be divided into six groups depicting
archaeological remains and antiquities:
(1) 10 depicting the temples at Abu Simbel, Nubia, one dated 9 January 1839, the others simply dated January
1839. The subjects include ‘Rhamses II (Sesostris) besieging a strong Fortress in Assyria. From a painted
bas-relief on the South Wall of the principal chamber in the Great Temple of Abousimbal, Nubia’, ‘Sesostris
presenting prisoners of different nations to the Deities of Thebes and Abousimbal. From a painted basrelief, on the West Wall of the Principal Chamber of the Great Temple of Abousimbal, Nubia’, and ‘Sesostris
receiving the news of his army having been attacked by the enemy. From a painted bas-relief, on the North
Wall of the Principal Chamber of the Great Temple of Abousimbal, Nubia’.
(2) 2 views of the island of Philae, Nubia, dated 5-6 February 1839.
(3) 3 of Karnak dated 14 February 1839, and 1 March 1839. The subjects include ‘Shishak King of Egypt [...]
dragging to the feet of the Theban deities [...] the chiefs of conquered nations [...] from a bas relief on the
South Wall of the Palace’ and ‘The Propylon and First Court of the Great Palace’.
(4) 11 of Bibal-el-Malouk, Thebes, dated 16-20 February 1839, or simply February 1839. The subjects
include ‘Tomb of Menephtha III’, ‘From a Painting [...] on the Wall of a Chamber in the Tomb of the Pharoah
Rhamses Meiamoun’, and ‘A Painted bas relief in the Tomb of Menephtha I’.
(5) 3 of Madinat Habou, Thebes, dated 23 February. Subjects include ‘The Private Palace of Rhamses
Meiamoun’.
(6) 3 of Thebes dated 28 February. Subjects include ‘The Two Memnons at Thebes’.
In addition to these groups there are a further two archaeological studies (one of “The Prophlyon & Pronaos
of the Temple Slathor (Venus) Denderrah from the Naos”, dated 25 December 1838 and one of “Assouan
(Syene)” dated 6 February 1839), and a plan of the Temple of Luxor after Achille Prisse d’Avennes drawn
in pencil and dated 2 March 1839. There are also three botanical drawings dated 14, 19 and 30 January
1839 depicting “The Cotton Plant”, the “Fermis” and “Kharawah The Castor Oil Plant.” The six remaining
drawings are uncaptioned and unfinished preliminary sketches of various subjects.
The three sheets of relief impressions seem to have been made by wetting the sheets of paper and pressing
them over the carvings; the outlines so formed have been subsequently traced over in pencil. Two of them
are dated 28 February 1838 and are from Thebes, both captioned “From the tomb of one of the Priests of the
18th Dynasty” and the third is captioned “Palace of Luxor Ammophis III (Memnon).”
(#26935) $ 24,000
36 EVELYN, John (1620-1706).
Navigation and Commerce, their original [sic.] and progress. Containing a succinct account of traffick
in general; its benefits and improvements: of discoveries, wars and conflicts at sea, from the original of
navigation to this day; with special regard to the English nation, their several voyages and expeditions,
to the beginning of our late differences with Holland; in which His Majesties title to the dominion of the
sea is asserted, against the novel, and later pretenders.
London: T.R. for Benj. Tooke, 1674. Octavo (7 x 4 3/8 inches). Front blank, errata leaf and 2pp. of
publisher’s advertisements in the rear. Contemporary sheep, covers with double-fillet border ruled in
blind, expertly rebacked to style. Housed within a modern black morocco-backed cloth box.
First edition of this “interesting compilation of facts concerning the economic history of Great Britain and
Holland” (Keynes).
This work was originally intended as the first part of a history of the war with the Dutch. It was undertaken
at the wish of King Charles II, but no more than the present work was ever published. Its publication greatly
displeased the Dutch, as was intended, and the Dutch ambassador demanded that the work be suppressed.
Evelyn wrote that “his Ma[jes]ty told me he must recall [the book] formally, but gave order that what copies
should be publicly seiz[e]d to pacifie the Ambass[ado]r, should immediately be restor[e]d to the printer, and
that neither he nor the vendor should be molested.” Evelyn goes on to note that the official line that the book
was being suppressed actually helped its sale.
In relating this history, the author emphasizes the progress of Great Britain in her many exploits at sea,
expeditions to the Indies, America and so forth, and dwells on the tremendous influence the development of
navigation had on the trade of resources found in the new territories acquired. Evelyn notes the significance
of the voyages of Columbus, Vespucius, Cabot, Drake, Hawkins, Cavandish, Frobisher, Hudson and other
early navigators, and includes some information regarding whale fishing, pirates and Virginia.
Keynes 92; Sabin 23028; Wing E-3504; Kress 1358; Goldsmiths 2078.
(#28188) $ 4,850
37 FLEURIEU, Charles Pierre Claret de, Comte (1738-1810).
Discoveries of the French in 1768 and 1769, to the South-East of New Guinea, with the Subsequent
Visits to the Same Lands by English Navigators, who Gave Them New Names. To which Is Prefixed, an
Historical Abridgement of the Voyages and Discoveries of the Spaniards in the Same Seas.
London: Printed for John Stockdale, 1791. 4to (10 3/4 x 8 1/4 inches). xxiv,323,[1]pp. Half-title. 12
engraved folding maps and plates (9 maps, 2 views, and a plate). Twentieth-century half brown calf
over patterned paper covered boards, spine with raised bands, black morocco lettering piece in the
second compartment, the others with a repeat decoration in gilt. Provenance: J. T. Sureune (signature
dated 1837 on endpaper); Thomas Gill (bookplate on the front pastedown).
First English edition, following the French edition of the previous year.
Writing during a period of intense international rivalry over discoveries in the Pacific, Fleurieu (a French
politician and scientist) promotes the discoveries of Bougainville and Jean de Surville at the expense of
British claims, though he does acknowledge some of Captain Cook’s discoveries. To bolster his claims for the
French, Fleurieu uses unpublished manuscripts, as well as the printed accounts of several Spanish and British
navigators. An appendix prints Buache’s “Extract from a memoir concerning the existence and situation of
Solomon’s Islands....” The twelve folding maps and plates relate to New Guinea and the Solomon Islands.
“The maps are interesting, since they were based both on actual discoveries and on Fleurieu’s theories. When
d’Entrecasteaux returned from his fruitless search for La Perouse, he confirmed that Fleurieu’s theories
appeared to be generally correct” (Hill).
Hill 611; Beddie 1302; Ferguson 105; Sabin 24749; Cox II:304.
(#28662) $ 3,250
38 GUIGNES, Chretien Louis Joseph de (1759-1845).
Voyages a Peking, Manille et l’Ile de France, Faits dans l’Intervalle des Annees 1784 a 1801.
Paris: Imprimerie Imperiale, 1808. 4 volumes (3 octavo text volumes [8 3/8 x 4 7/8 inches] and
folio atlas [16 1/2 x 10 1/2 inches]). Text: [2],lxiii,439; [2],476; [2],488pp. Atlas: [4]pp. Ninety-four
engraved plates on 62 leaves (including two full-page unnumbered engraved plates not in the plate
listing) and six engraved maps and plans (one map on two folding sheets, four folding plans). Atlas
uncut. Text: expertly bound to style in period marbled paper covered boards, paper spine labels,
marbled edges. Atlas: contemporary red morocco backed marbled paper covered boards, spine with
semi-raised bands, lettered in the second compartment, the others decoratively tooled in gilt, black
and blind.
First edition of this important collection of voyages and source on early Chinese commerce, with two additional
plates rarely found.
The atlas presents a wide variety of views of contemporary Chinese dress, architectural monuments, sailing
vessels, city views, ceremonies, tombs, and more. The two extra plates in the Atlas show a Chinese pagoda at
the port of Macao, and a view of the western gate of the Tartar (Inner) City in Peking. These two extra plates
are allegedly only found in about six copies of the atlas, according to the Canadian Centre for Architecture.
“Guignes, like his father before him, became an Orientalist scholar. He was appointed French resident in
China and Consul in Canton in 1784. Ten years later, in 1794-95, he was an interpreter with the Dutch
Embassy to Peking. In all, he spent seventeen years in China. This book, quite a comprehensive account,
touches upon such subjects as industry, trades, professions, foreign trading companies, etc. The atlas of
engraved plates includes views, maps, and charts. The sections on the Philippines and Mauritius were
translated into English and printed in volume eleven of Pinkerton’s A General Collection ... (1808-14).
Guignes was both fluent and interested in the Chinese language, and he published a Chinese-French-Latin
dictionary in 1813” (Hill).
“Voyages a Peking...was published in 1808 by Chretien Louis Joseph de Guignes, the son of the French
sinologist Joseph de Guignes. A lengthy commentary recounting the younger de Guignes’s seventeen years
in Southeast Asia, the Voyages focused on his journey to Beijing as an interpreter for the Dutch embassy
led by Isaac Titsingh and Andreas Everardus van Braam Houckgeest in the years 1794 and 1795” (Reed &
Dematte).
Hill 733; Lust 336; Cordier 2351-2352; Morrison II, 104; Mollendorf 1487; Lowendahl 738; Reed & Dematte (2007), pp.160-61;
Pardo de Tavera 1287.
(#28608) $ 12,000
39 HAKLUYT, Richard (1552-1616).
The Principall Navigations, Voiages and Discoveries of the English Nation, made by Sea or over Land,
to the most remote and farthest distant quarters of the earth at any time within the compasse of these
1500 yeeres.
London: George Bishop, Ralph Newberie and Robert Barker, 1599-1600. Three volumes bound in
two, small folio (10 7/8 x 7 1/4 inches). [24],620;[16],312,204;[16],868pp. Eighteenth-century russia,
covers bordered with a gilt fillet, spine with raised bands, morocco lettering pieces in the second,
third and fourth compartments, the others with an overall repeat decoration in gilt, rebacked with the
original spine neatly laid down, marbled endpapers, gilt edges. Provenance: Napier (early signature
on title); Lancelot Holland (19th century armorial bookplate); Markree Library (book label).
The greatest assemblage of travel accounts and navigations to all parts of the world collected up to its time, and
a primary source for early New World exploration.
The second edition, greatly expanded from the single-volume original version of Hakluyt’s voyages, with the
1599 titlepage, and with the suppressed leaves relating the voyage to Cadiz from the 1720 reprint. Titlepage
of volume two reads “Hackluyt” and “1599” with line 7 reading “these 1600.yeres.” This second edition is an
entirely different book from the initial 1589 compilation, more than doubling it in content.
“This [second edition] was indeed Hakluyt’s monumental masterpiece ... Much that was new and important
was included: the travels of Newbery and Fitch, Lancaster’s first voyage, the new achievements in the Spanish
Main, and particularly Raleigh’s tropical adventures ... The book must always remain a great work of history,
and a great sourcebook of geography, while the accounts themselves constitute a body of narrative literature
which is of the highest value in understanding the spirit of the tendencies of the Tudor age” (Penrose).
“... An invaluable treasure of nautical information which has affixed to Hakluyt’s name a brilliancy of
reputation which time can never efface or obscure” (Church). Hakluyt’s collection will always be the primary
source for the history of early British exploration, as well as one of the gems of Elizabethan letters.
Hakluyt took such patriotic pride in his countrymen’s exploits in the fields of travel and adventure that he
devoted his life to preserving the records of all British voyages, and to advancing further means for the
promotion of wealth and commerce for the nation. “Hakluyt was a vigorous propagandist and empirebuilder; his purpose was to further British expansion overseas. He saw Britain’s greatest opportunity in the
colonization of America, which he advocated chiefly for economic reasons, but also to spread Protestantism,
and to oust Spain” (Hill). The third volume is devoted almost entirely to the Americas, the South Seas
and various circumnavigations of the world. It includes the accounts of Niza, Coronado, Ruiz and Espejo
relating to New Mexico; Ulloa, Drake and others concerning California; and Raleigh’s account of Guiana.
Volume I of this set contains the circa 1720 reprint of the rare “Voyage to Cadiz” (pp.607-620), often lacking
due to its suppression by order of Queen Elizabeth after the disgrace of the Earl of Essex; and with the second
state of the volume 1 titlepage. The reason for the existence of several states of these “Cadiz” leaves was the
fall from royal favor of the Earl of Essex, who returned to England from Ireland without leave in 1599. The
original titlepage, dated 1598, had made mention of Essex’s “famous victorie atchieued at the citie of Cadiz,”
and so it was quickly replaced with the present version (dated 1599), which makes no mention of Cadiz.
Normally, the seven Cadiz leaves were simply removed from the end of the first volume.
As usual, this set does not contain the world map, which is almost always missing and was only actually
issued with a handful of copies. Church was able to trace just thirteen copies of the map, a figure that
Quinn in his census could only increase to nineteen, out of the total of 240 copies of the book that have been
located, most of them held by institutions. Quinn remarks that even allowing for the ravages of time, this
“survival rate is sufficiently low to raise the possibility that not all copies were equipped with the map, either
because it was made available after many sets had been sold (which would mean that its date might be later
than 1599), or because it was an optional extra supplied at additional cost.”
“It is difficult to overrate the importance and value of this extraordinary collection of voyages” (Sabin).
Grolier English 100, 14; Wagner Spanish Southwest 3,4,5,6,8c,9a,18a; Printing & the Mind of Man 105; STC 12626; Sabin
29595,29597,29598; JCB (3)I:360-61; European Americana 598/42; Bell H10; Hill, pp.131-32; Palau 112038,112039; Borba de
Moraes, p.328-29; Penrose, Travel and Discovery in the Renaissance, p.318; Pforzheimer 443; Church 322; Quinn, p.490.
(#28609) $ 37,500
40 HALL, Basil (1788-1844).
Account of a voyage of discovery to the west coast of Corea, and the Great Loo-Choo Island; with an
appendix, containing charts, and various hydrographical and scientific notices ... And a vocabulary of
the Loo-Choo language.
London: printed by T. Davison for John Murray, 1818. Quarto (10 1/2 x 8 1/2 inches). Handcoloured aquatint frontispiece, 9 plates (7 hand-coloured aquatints, 1 uncoloured aquatint, all by
Robert Havell & Son, 1 line engraving), and five engraved charts (two folding). Expertly bound to
style in half calf over period marbled-paper covered boards, flat spine divided into compartments
by gilt roll tools, red morocco lettering piece in the second compartment, the others with a repeat
decoration in gilt.
First edition of an important early western description of Korea and the China Sea, illustrated by high quality
aquatints by the Havells.
This expedition transported Lord Amherst’s embassy to China and whilst waiting for the embassy’s business
to be completed, they “explored the relatively little-known East China Sea and the Yellow Sea. Visits were
made to Korea and the Ryukyu Archipelago. Korea had been sketchily explored by Europeans, but it was
not until the Alceste and Lyra expedition in 1816-17, under Captains Murray Maxwell and Basil Hall, that
detailed information was obtained about the Ryukyus” (Hill). The vocabulary of the Loo-Choo language is
by H.J. Clifford, a lieutenant in the Royal Navy, and includes phrases, nouns, numbers, a comparison with
Japanese, and much more. The plates are a mixture of topographical scenes and costume studies of both
Korean and Loo-Choo or Ryukyu islanders. The majority are from watercolours by William Havell, who
accompanied Lord Amherst’s embassy and worked up the sketches of Hall and C.W. Browne, a midshipman
on the Alceste.
Abbey Travel 558; Cordier Sinica 3009; Tooley 241; Hill p.134; Bobins, Exotic and the Beautiful 289.
(#28241) $ 2,500
41 HAMILTON, George.
A Voyage round the World, in His Majesty’s Frigate Pandora. Performed under the direction of Captain
Edwards in the years 1790, 1791, and 1792. With the discoveries made in the South-Sea; and the many
distresses experienced by the crew from shipwreck and famine, in a voyage of eleven hundred miles in
open boats, between Endeavor Straits and the Island of Timor.
Berwick, England: printed by and for W. Phorson, 1793. Octavo (7 7/8 x 4 7/8 inches). 164pp.
Engraved portrait frontispiece of Hamilton by Orme. Modern brown calf, covers panelled in blind,
spine with raised bands, black morocco lettering pieces.
First edition of this important and fascinating account of a Pacific voyage undertaken with the express purpose
of capturing the “Bounty” mutineers.
This rare Pacific voyage account is based on the journal kept by the surgeon on board the frigate “Pandora”,
under the command of Captain Edward Edwards. The purpose of the voyage was to capture the “Bounty”
mutineers, whose existence became known with Bligh’s return to England in 1790. At Tahiti the Edwards
expedition managed to arrest fourteen of the mutineers, placing them in a makeshift cage constructed on the
quarterdeck of the ship which was called “Pandora’s Box.” These would be the only mutineers captured by
the “Pandora”. “Later in the voyage, the ship was wrecked on the Pandora Reef in Endeavour Strait. Captain
Edwards left the prisoners to drown, but the master-at-arms dropped the keys to the mutineers and ten of
the fourteen survived. Returning to England in 1792, the mutineers were tried by a court martial; three were
hanged, the rest pardoned or acquitted. Edwards was also instructed to survey the Endeavour Straits in the
course of his voyage, and to determine the best passage to Botany Bay. He succeeded in this mission, and
made some discoveries as well, among them Ducie Island, Nukunono Island, Rotuma Island, the Duke of
York’s Island, Anuda Island, and Pitt Island” (Hill).
Sir John Barrow in The Eventful History of the Mutiny and Piratical Seizure of H.M.S. Bounty (1831), writes
rather disparagingly of Hamilton’s account: “The only published account of this voyage is contained in a
small volume of Mr. George Hamilton, the surgeon, who appears to have been a coarse, vulgar and illiterate
man...disposed to relate licentious scenes and adventures, in which he and his companions were engaged...”
But Ferguson responds: “This criticism is somewhat severe, because in his narrative the author displays
power of observation and good sense, though sometimes relating unbecoming scenes ashore.” Very rare in
any condition. The NUC locates only four copies (Newberry, Boston Public, John Carter Brown and Yale);
Ferguson adds three more Australian institutional holdings.
Ferguson151; Hill (2004) 766; O’Reilly & Reitman 606.
(#28610) $ 13,500
42 JAMES, Silas.
Item 42
A Narrative of a Voyage to Arabia, India, etc. Containing Amidst a Variety of Information, a Description
of Saldanha Bay, with Remarks on the Genius and Disposition of the Natives of Arabia Feliz; the
Manners and Customs of the People of Hindoostan.
London: W. Glindon, 1797. 8vo (8 x 4 3/4 inches). [2],vi,232pp. Engraved frontispiece portrait.
Modern half brown calf over marbled paper covered boards, spine with raised bands, morocco
lettering piece in the second compartment, the others with a repeat decoration in gilt.
A rare and little-known narrative recounting the author’s exciting travels to India, Africa and Arabia.
The voyage is fraught with trials and travails, as James visited the Malabar coast of India, the island of
Madagascar, the Cape Colony and southern Arabia between 1781 and 1784; accounts of Arabia by European
travellers from this early date are few. This is the first issue; a later issue, with a cancel title, omitted the list of
subscribers present here. Rare, with fewer than ten copies of either issue located in ESTC.
ESTC T139719; Mendelssohn I:765. Not in Howgego.
(#28612) $ 4,250
43 MEARES, John (1756-1809).
Voyages made in the years 1788 and 1789, from China to the north west coast of America. To which are
prefixed, an introductory narrative of a voyage performed in 1786, from Bengal, in the Ship Nootka;
observations on the probable existence of a north west passage; and some account of the trade between
the north west coast of America and China; and the latter country and Great Britain.
London: printed at the Logographic Press and sold by J. Walter, 1790. Quarto (11 5/8 x 9 inches).
5pp. list of subscribers. 28 engraved, stipple or aquatint plates and maps (comprising: 1 stippleengraved portrait frontispiece of Meares by C. Bestland after Sir William Beechey, 3 folding engraved
maps, 7 engraved charts, 6 aquatint coastal profiles [4 folding, including “Views of the Land on
the Philippine Islands” facing p.17], 3 portraits [1 aquatint, 2 engraved], 8 views [7 aquatints, 3
of these folding]). Contemporary half speckled calf over marbled paper covered boards, flat spine
divided into compartments by gilt rules, red morocco lettering piece in the second compartment.
Provenance: presentation copy, inscribed “Presented by the Author” on the title; William Perceval
(bookplate).
Presentation copy of the first edition of “one of the fundamental books on the Northwest coast of America in
general and on Alaska in particular” (Lada-Mocarski). A fine, tall copy in its original binding.
“Meares made two fur trading voyages to the Northwest Coast. The first, sponsored by Bengal merchants,
included the ships Nootka and Sea Otter, which sailed from Calcutta on March 2, 1786. On this voyage
Meares reached Alaska and visited Kodiak but was continually frustrated by the presence of the Russians.
On the northwest coast he met Portlock and Dixon. In June 1787 he sailed to Hawaii and continued on to
Canton, taking with him the Hawaiian chief Kiana (whose portrait is included among the plates). On the
Nootka, Meares again arrived at Hawaii August 2, 1787 and departed September 2, 1787. Meares returned to
Hawaii as master of the Felice, [the renamed Nootka], October 18 and departed October 26, 1788.
Meares’ second voyage to the American coast (1787-1788) was to alter the course of history. In 1788 he
determined to establish a permanent fur-trading settlement at Nootka and engaged Colnett of the Argonaut
and Hudson of the Princess Royal to accompany him. Shortly after arrival in territory claimed by Spain,
the ships Iphigenia, Argonaut, and Princess Royal were seized by a Spanish frigate, and the resulting action,
known as the Nootka Controversy, nearly precipitated a war between England and Spain. The appendixes
to this work contain letters and instructions, Dufferin’s journal kept while exploring the Straits of Juan de
Fuca in July 1788, and Meares’ memorial to the House of Commons, May 13, 1790, claiming exclusive
rights to Nootka and the prior raising of the British Flag. Meares’ account was central to British claims to
the Northwest Territory and led to the convention by which Spain’s claim was finally disallowed” (Forbes I,
pp.157-158).
The work is noted for its fine illustrations, including aquatint views of Macao, Nihoa (Hawaii) and the
Northwest coast of America, as well as important maps. This copy includes the plate titled “Views of the
Land on the Philippine Islands” which is often lacking.
We have never before encountered a presentation copy of Meares.
Abbey Travel II 594; Cordier Sinica 2103; Hill (2004) 1126; Howes M469; Howgego M-86; Sabin 47260 (26 plates); Staton &
Tremaine 612); Streeter sale VI:3491; Wagner Northwest Coast 758, 758a, 759-766.
(#28197) $ 17,500
44 MORDEN, Robert (d. 1703).
Geography Rectified: or, a Description of the World, in all its kingdoms, provinces, countries, ... &c. As
also their commodities, coins, weights, and measures, compared with those at London. Illustrated with
seventy six maps. The second edition, enlarged with above thirty sheets more in the description, and
about thirty new maps.
London: printed for Robert Morden and Thomas Cokerill, 1688. Small quarto (7 3/4 x 6 inches).
Title-page printed in red and black, complete with the Catalogue of the maps bound facing the title
as issued (often lacking). 78 copper-engraved maps, printed within the text, including the cancel leaf
inserted between pp.544 and 545 with the map and description of Bermuda (as issued). Early 18th
century panelled calf, spine with raised bands in five compartments, red morocco lettering piece in
the second compartment. Provenance: George Whichcote (early signature and inscription on title,
shelf mark on spine and front endpaper).
Second expanded edition of Morden’s charming atlas, including important mappings of America.
The first edition (published in 1680) contained 62 maps, compared to the 78 in the present work. The
section on the Americas starts at p.512 and runs to the end: the maps in this section include a general map of
America (in Burden’s ‘State 3’, with California still shown as an island). The others delineate various regions:
Terra Magellanica; Chili and Paraguay; Brazile; Castilla del Or Guiana Peru the country of ye Amazones; The
Western Islands; Insulae Jamaicae; Barbados; Aestivarum Insualae ac Barmudas; Mexico or New Spaine;
New Mexico; Florida and ye Great Lakes of Canada.; Carolina; Virginia [with Maryland]; New Jarsey and
Pensilvania; New England and New York; North West part of America.
Cf. Burden 519 - 524; Sabin 50535; Shirley British Library T.MORD-2C; Wing M-2620.
(#28342) $ 9,850
45 MUENSTER, Sebastian (1488-1552).
Furmalung und kunstlich beschreibung der horologien, nemlich wie man der sonnen uren mit
mancherley weys und form, und auff allerley gattung entwerffen soll an die mauren.
Basel: Heinrich Peter, 1544. Small folio (11 1/2 x 7 5/8 inches). [7],clxvi,[1]pp. Two plates. Illustrated
with more than sixty in-text woodcut diagrams. Printer’s device on verso of final leaf. (The two plates
chipped along the fore-edge with minor losses affecting some of the numbering). Expertly bound to
style in period vellum. Housed in a black morocco backed box. Provenance: unidentified inscription
on title dated 1566; Ex libris Blasij Dasner (inscription on title); Monasterij Rhenoviensis, sub Abbate
Eberhardo (inscription dated 1631).
Early edition of a noted mid-16th century work on sundials and horology.
Second German-language edition, following the first edition printed in Basel in 1531 (in Latin) and the
first German-language edition of 1537. This is Muenster’s revision of his significant work on sundials and
horology. The text is illustrated with many woodcuts of sundials, measuring devices, and quadrants, some
of them attributed to Hans Holbein the Younger. This edition appeared the same year as Muenster’s famed
Cosmographia.
This copy is especially interesting for the three early ownership inscriptions on the titlepage, as well as two
pages of manuscript diagrams and four pages of manuscript notes that follow the text. One signature on the
titlepage, written below the printer’s name, is dated 1566 and appears to read “Egodolf.” Immediately below
it is the undated ownership signature “Ex libris Blasij Dasner.” At the top of the titlepage is a manuscript
note showing that this volume was in the possession of the monastery “Rhenoriensis” in 1631, under the
Abbot Eberhard. Rheinau Abbey (also known as Kloster Rheinau), a Benedictine monastery in the Canton
of Zurich, Switzerland, was founded in about 778 and suppressed in 1862.
The two full-page manuscript diagrams and four pages of manuscript text at the end deal with the subject of
Muenster’s work, sundials and problems of solar declination and hour ascension, and their use on different
dates and in different latitudes. The diagrams and manuscript notes consider problems that have been taken
from Muenster’s text. A part of the manuscript is in the form of questions and answers. The first page of
manuscript notes contains a diagram of a hand holding a stick, and was a common horological tool of the
time.
OCLC locates only six copies of this 1544 edition, with only two of them (Harvard and Folger Shakespeare
Library) in the United States.
Brunet 1944-1945; Burmeister 52.
(#26419) $ 12,000
46 [OTTOMAN-VENETIAN WAR] - Balthasar JENICHEN (engraver).
Warhafftige Co[n]terfettung der Turckischen Armata von Balleenn und andern Schiffen Dreihundert
wie solche dess 1570 Jars in Ordnunge wider die Venedische Lendt ist aussgefahren.
[Nuremberg: circa 1571]. Engraving, printed on two sheets of laid paper joined. Engraver’s
monogram at the lower left. Early manuscript caption in English in the lower margin. Plate mark:
11 x 16 inches. Sheet size: 14 5/8 x 18 3/8 inches. (Tear extending from the right margin closed with
small void in excellent facsimile, small worm hole within the image).
Very rare German news-sheet map depicting the Turkish fleet invasion of Cyprus in 1570.
Exceptionally scarce engraved German broadside map depicting the Ottoman fleet sailing to Venetiancontrolled Cyprus in 1570. The early English manuscript caption in ink just below image reads: “The
representation of the Turkish Navall Army in ye year 1570 going forth to meet the Venetian fleet.” Cyprus, then
under Venetian rule, was a strategic point for controlling shipping and trade in the Eastern Mediterranean.
The Ottomans, ruled by Sultan Selim II, had long desired the island. Following a series of warnings and
demands, the Ottoman fleet, commanded by Müezzinzade Ali Pasha and Lala Mustafa Pasha sailed for
Cyprus in late June 1570. Depicted here, the Turkish fleet was composed of an estimated 350-400 ships and
upwards of 100,000 men. Following sieges and massacres at Nicosia, Kyrenia and Famagusta, the island was
taken by August 1571. Although the invasion was long-heralded, the Venetian fleet failed to prevent the
invasion or the subsequent fall of Cyprus to the Turks. However, they subsequently raised the support of the
“Holy League” of the Catholic maritime states in the Mediterranean, and defeated the Ottoman fleet at the
Battle of Lepanto in October 1571 off the western coast of Greece. The victory of the Holy League prevented
the Ottoman Empire expanding further along the European side of the Mediterranean, though did not
remove their possession of Cyprus.
Jenichen, who signed the map with his monogram ‘BI’, was the leading German publisher of news-sheet
maps. Jenichen and compatriot Matthias Zündt took particular interest in the conflict and produced views
and maps of it that equaled and surpassed those of their Italian counterparts. Given their ephemeral nature,
all are rare and desirable. We can locate only one other example of this engraving appearing at auction in
recent times (Sotheby’s London, 29 April 2014, lot 157, £60,000).
Hollstein XL B, 128; G.K. Nagler, Die Monogrammisten v. 1, p. 818-819; Andresen II, Nr. 276; Drugulin II, 364; s.a. Meurer,
Jenichen S. 50.
(#28345) $ 75,000
47 (PAKISTAN, Jowaki Expedition) - Lt. Oswald C. RADFORD, 3rd Sikh Infantry.
Jowaki [manuscript title of an album of watercolours and pen-and-ink sketches by Radford recording
the Jowaki Expedition in Kohat Pass].
[Kohat Pass, Pakistan: November 1877 - January 1878]. Oblong quarto (9 3/4 x 12 inches).
Watercolour title accomplished directly on the recto of the first album leaf, 28 watercolours (mostly
on sheets of drawing paper mounted into the album, though others drawn directly on the album
leaves), 7 mounted pen-and-ink sketches on thin paper (including rough studies for some of the
watercolours), 5 watercolour vignettes incorporating various date headings, all of the above recto
and verso on 23 album card leaves. Manuscript descriptions and captions by Radford throughout, as
well as related mounted newspaper clippings. Contemporary green cloth album, covers decoratively
blocked in gilt, blind and black (worn). Provenance: Mian Hayaud-Din (inscription on pastedown).
A unique album of drawings depicting the Jowaki Expedition in the Kohat Pass preceding the Second Afghan
War, recorded by an eyewitness Lt. Oswald Radford of the 3rd Sikh Infantry: a pictorial relic of The Great Game.
In the early 1870s, the British colonial government in India paid the Jowaki Afridi a tribute payment to guard
the Kohat Pass. The Jowaki Afridi were the most powerful Pathan tribe in the mountainous borderland
northwest frontier province between present-day Pakistan and Peshawar. In 1875, a road was proposed to
run through the pass, which was objected to by the local tribes. To further complicate the situation, the
amount of the tribute payment was reduced in 1877, igniting conflict. The Jowaki cut the British telegraph
lines and raided across the border. A force of 1500 troops of the Punjab Frontier Force were dispatched under
Colonel Frederic David Mocatta in retaliation, joined shortly thereafter by a larger force under Brigadier
General Charles Patton Keyes.
The present album was created by Lt. Oswald Radford, an officer in the 3rd Sikh Infantry who served on the
expedition. Leaving Kohat on 9 November, Radford’s column advanced to the Paiya Valley, meeting little
resistance. After serveral skirmishes, the force moved to the Shindai Valley, pushing back a Jowaki force
assembled there. By the first of December, the British force had taken the Jowaki stronghold of Jummu
and chased their enemy though the Naru Khula gorge before returning to Jummu in January of 1878. At
the end of January 1878, fifty head men of the Jowaki tribe met with the British commanders in the Paiah
Valley (several depicted in the final watercolour in this album), though the British conditions for peace were
refused. Although the British force was able to push back the Jowaki and inflicted considerable damage on
their villages and crops, the Jowaki were not resoundingly defeated and continued guerrilla assaults, though
the building of the disputed road continued.
Radford’s watercolours show both the rugged mountainous landscape and its beautiful valleys, interspersed
with images of camp life and portraits of the combatants. Within the album is a manuscript account of the
expedition, as well as period newspaper accounts which augment the contextualizing of the images. Many
of the pen-and-ink sketches are preliminary to the watercolours, and were no doubt done on the spot, with
the more accomplished mounted watercolours drawn in camp. The watercolours comprise (titled as per
Radford’s captions, supplied titles in brackets):
1) Jowaki [album title spelled out using swords and guns against a trench, with two soldiers in the foreground
and a mountain range in the background]. 9 3/4 x 11 3/4 inches.
2) Gandiali Ravine. 8 3/4 x 11 3/8 inches. Mounted.
3-4) Halt at the Summit of the Tortang Pass, Turki Valley / Shindai Valley [two views, each mounted to same
album leaf]. Each 3 3/8 x 9 3/4 inches. Mounted.
5-6) Paiah Valley / Amateur Reaping [two views on one album leaf]. Each approximately 4 x 10 inches.
7-9) [3 small watercolours, each mounted to the same album leaf, two depicting Khattak horseman and one
standing]. 3 1/2 x 5 3/8 inches to 9 1/2 x 5 inches. Mounted.
10-11) Kohat Valley / Turki Valley [two views on one album leaf]. Each approximately 4 1/4 x 11 1/4 inches.
The first mounted.
12-16) [5 small watercolours, each mounted to the same album leaf, depicting camp life and Jowakis,
including two watercolours recto and verso of same sheet]. Approximately 5 1/2 x 3 1/2 inches (or the
reverse). Mounted.
17) Khattak Dance, Turki. 8 1/4 x 11 1/4 inches
18) The Last Ridge [approaching Jammu]. 6 1/2 x 10 inches. Mounted.
19) Shai Khel, Jammu. 6 1/2 x 10 inches. Mounted.
20) Paiah Valley. 8 1/4 x 11 1/4 inches. Mounted.
21) [Unidentfied mountain range, panorama on two sheets across two album pages]. 3 x 17 inches. Mounted.
22) [Unidentified valley with fire burning]. Approximately 8 x 10 inches.
23) Entrance to Naru Khula. Approximately 8 x 10 inches.
24) Gorge looking back. 10 3/4 x 8 inches. Mounted.
25) Gorge in middle of Naru Khula. 10 1/2 x 9 1/2 inches.
26) Commencement of Retirement from Jummoo Valley. 10 1/2 x 9 3/4 inches.
27) 3rd Sikh Mess, Turki. 7 3/4 x 11 inches. Mounted.
28) [Portrait of Akbar Khan of Hangu]. 8 x 5 1/2 inches. Mounted.
29) [Group portrait of Akbar Khan, Malik Jan and Mahomed Khan]. 9 5/8 x 8 inches. Mounted.
The album is from the collection of Mian Hayaud-Din, a general staff officer for the British who served with
highest distinction in India and Burma before and after World War II. The album was acquired by him prior
to 1940. A unique pictorial record of a British colonial military conflict in among the most rugged regions
encompassed by The Great Game.
Cf. James Grant, Recent British Battles on Land and Sea (London, 1884), pp. 9-10, quoting Radford’s account of the expedition.
(#26989) $ 25,000
48 POTTINGER, Henry (1789-1856).
Travels in Beloochistan and Sinde; accompanied by a geographical and historical account of those
countries, with a map.
London: Longman, Hurst, Rees, Orme, and Brown, 1816. Quarto (11 1/4 x 8 1/2 inches). xxx,423pp.
Large engraved folding map (printed on two sheets joined, hand coloured in outline), hand coloured
aquatint frontispiece. Uncut. Modern half brown calf over marbled paper covered boards, spine
with raised bands, ruled in gilt on either side of each band, red morocco labels. Provenance: George
Hutchinson (contemporary signature on title).
Narrative of the author’s travels in 1810, from India through modern-day Pakistan and Afghanistan while in
the employ of the British East India Company.
Sir Henry Pottinger was an Anglo-Irish officer and colonial administrator, later becoming the first Governor
of Hong Kong. In 1804, he went to India to serve in the army, joining the British East India Company in
1806. “In 1808 Pottinger was sent on a mission to Sind under Nicholas Hankey Smith, the British political
agent at Bushehr. In 1809, when Sir John Malcolm’s mission to Persia was postponed, Pottinger and a friend,
Captain Charles Christie, offered to explore the area between India and Persia in order to acquire information
lacking to the government, which accepted the offer. The travellers, disguised as Indians, and accompanied
by a local horse dealer and two servants, left Bombay on 2 January 1810, journeying by sea to Sind, and from
there by land to Kalat. They were immediately recognized as Europeans, and even as having belonged to the
embassy at Sind, but safely reached Nushki, near the boundary between Afghanistan and Baluchistan; here
Christie diverged northwards to Herat, and proceeded thence by Yazd to Esfahan, while Pottinger, keeping
in a westerly direction, travelled through Kerman to Shiraz, and joined Christie at Esfahan. Christie was
directed to remain there, and was killed in a Russian attack on the Persians in 1812. Pottinger, returning via
Baghdad and Basrah, reached Bombay in February 1811. He reported the results of his journey, published as
Travels in Beloochistan and Sinde (1816)” (ODNB).
“His book, a geographical survey, has one very important historical observation. In Bam the author sees a
pillar of skulls erected c. 1794 by aqa Mohammad Khan during the Latter’s attack and destruction of Kerman
province and the massacre of most of its population” (Ghani). This work is of “high Interest” (Riddick).
The large map shows Beloochistan, Sinde, and parts of Kutch, Seistan, Khorasan, and Persia - the territory
along the Indian Ocean from the Arabian Peninsula to the top of the Indian subcontinent. The colored
frontispiece shows two Sindian foot soldiers in the military regalia.
Howgego P43; Riddick 55; Hopkirk P. The Great Game (1990), p.536; Ghani p. 305.
(#28617) $ 4,250
49 RAYNAL, Guillaume Thomas Francois (1713-1796).
Histoire philosophique et politique des établissemens & du commerce des Européens dans les deux Indes
... [with:] Atlas de Toutes les Parties Connues du Globe Terrestre, dresse pour l’Histoire, philosophique
& politique des établissemens & du commerce des Européens dans les deux Indes ...
Geneva: Jean-Leonard Pellet, 1780. 11 volumes (text: 10 volumes, 8vo [7 3/4 x 4 3/4 inches]; atlas:
4to [10 1/4 x 8 inches]). Text: engraved portrait frontispiece of Raynal after C.N. Cochin by N.
de Launay in vol. 1, 9 engraved frontispiece plates after J.M. Moreau le Jeune by de Launay and
others. 50 engraved maps by Rigobert Bonne (49 double-page, 1 folding; numbered 1-49, plus 17bis),
and 23 letterpress tables (some folding). Period mottled calf, flat spines in six (text) or seven (atlas)
compartments, red and brown lettering pieces in the second and fourth compartments, the others
with a repeat decoration in gilt, marbled endpapers, marbled edges. Provenance: A. Salle (early
booklabels and ink collection stamp).
A fine set of the expanded final edition of this important work: the radical anti-colonial notions Raynal expressed
in the present edition forced the author into exile.
In 1770, Raynal published the first edition of his Histoire philosophique et politique... He had the assistance
of various members of the philosophe côteries in his most important work, L’Histoire philosophique et
politique ... (Amsterdam, 4 vols., 1770). Denis Diderot indeed is credited with a third of this work, which
was characterized by Voltaire as “du réchauffé avec de la declamation.” The other chief collaborators were
Pechméja, Holbach, Paulze, the farmer-general of taxes, the Abbé Martin, and Alexandre Deleyre. Banned
in 1772, a new edition was published by Raynal in 1774, which was immediately placed on the Index of
banned books by the Roman Catholic church. The present edition appeared in 1780, and was more violently
radical then any of the previous editions. Some of the ideas that Raynal was advocating were enough to
ensure that a warrant for his arrest was issued, and the book was condemned by the Parlement de Paris and
burnt by the public executioner. Raynal escaped into exile, and did not return until 1784. Despite the radical,
anti-colonialism tone of this work, Raynal came to realise the impossibility of the peaceful revolution that
he had advocated.
This edition, in addition to the fine plates by Moreau le Jeune, is particularly valuable for its atlas of maps by
Rigobert Bonne (1727-1794), 23 of which are of American interest.
Cohen/de Ricci 854; cf. Phillips 652 (atlas); Sabin 68081.
(#28231) $ 6,500
50 SHILLIBEER, John.
A Narrative of the Briton’s Voyage, to Pitcairn’s Island.
Taunton: Printed for the Author by J.W. Marriott, 1817. 8vo (9 x 5 1/2 inches). [6],iii,[3],179,[2]
pp. Twelve plates (two folding) comprised of sixteen etchings. 8pp. publisher’s ads. Uncut. Expertly
bound to style in half red morocco over brown paper covered boards, spine ruled and lettered in gilt.
Finding the Bounty Mutineers.
A fascinating and valuable account of Pacific travel, by an officer in the Royal Marines on the H.M. Frigate
Briton, including much information on the mutiny of the Bounty, and an interview with the last survivor
on Pitcairn Island. Shillibeer was able to record what he saw in beautiful etchings he made on the spot,
including views of Rio de Janeiro, Lima, Juan Fernandez, Callao, and Santa Christina, as well as portraits of
Friday Fletcher October Christian (Fletcher Christian’s son), Patookee, a lady of Lima, and several others.
“An engaging narrative including some curious details regarding the mutiny of the Bounty, gleaned from a
meeting with the last survivor, John Adams, when the ship called at Pitcairn Island. The Briton first visited
Rio de Janeiro. From Brazil the vessel was ordered into the Pacific to search for the American frigate Essex,
then threatening British whalers in those waters. Interesting information regarding Captain David Porter of
the Essex and his proceedings in the Marquesas is included. Various places on the coast of Chile and Peru
were visited, particularly Lima, as well as the Galapagos Islands” (Hill).
Hill 1563; Borba de Moraes, p.796; Sabin 80483.
(#28668) $ 1,500
51 STAUNTON, Sir George Thomas (1781-1859), translator.
Ta Tsing Leu Lee; being the Fundamental Laws, and a Selection from the Supplementary Statutes of the
Penal Code of China.
London: T. Cadell and W. Davies, 1810. Quarto (12 1/2 x 10 inches). [4], xxvi, 582, [2]pp. Errata on
verso of terminal Index leaf, 2pp. publisher’s ad in the rear. Uncut. Expertly bound to style in half
diced russia over period marbled paper covered boards, flat spine divided into compartments by gilt
roll tools, black morocco lettering pieces in the second compartment, black morocco label with gilt
pagoda design in the fifth compartment, the others with a repeat decoration in gilt.
First edition of the first Chinese book directly translated into English.
Macartney’s Embassy, the first such to China, had two objectives: the first to register with the Emperor British
displeasure at the treatment that the British merchants were receiving from the Chinese, the second to gain
permission for a British minister to be resident in China. Accompanying Macartney was Sir George Leonard
Staunton (1737-1801), who authored the important account of the expedition upon his return to London.
Staunton’s son, Sir George Thomas Staunton (1781-1859) who served as the ambassador’s page and was the
only European member of the embassy able to speak Mandarin, “accompanied him to China, remained in
Canton until 1817, and was a member of Lord Amherst’s second British embassy to Peking in 1816 and 1817
... [he was also] a founder of the Royal Asiatic Society in 1816 and 1817” (Hill p.579). During his time in
Canton, Staunton undertook the admirable task of translating the Chinese Penal Code, publishing the work
in 1810 - the first Chinese book to be translated directly into English; editions in other European languages
followed, translated from Staunton’s work.
“In undertaking the work which is now submitted to the eye of the Public, the Translator was not unconscious
of the difficulties and disadvantages he would have to contend with in so novel an attempt. He was however
encouraged to proceed by the persuasion that the work was in itself amply deserving of the labour which
it might be necessary to bestow upon it; that the intrinsic value, the unquestionable authenticity of the
materials, and the general importance and curiosity of the subject, would fully compensate those particular
defects and imperfections ... Under all circumstances he flattered himself, that a faithful version of the
Fundamental Laws of the Penal Code of China might, with the addition of some supplementary matter, not
only prove interesting as far as regards its immediate subject, but likewise afford a more compendious and
satisfactory illustration, than any other Chinese work that could have been selected...” (Translator’s Preface).
The first Chinese book directly translated into English, Staunton’s translation is considered “a watershed
in modern Sinology in particular and modern Orientalism in general, not simply because it was the first
English translation directly from a Chinese text, but more because it signalled a fresh point of departure for
Westerners to decode and essentialize Chinese law and society in a far more professionally authoritative and
systematic fashion” (Chen, Law as the Decoding Machine and Cultural Translation for Colonial Control:
Stauntons Ta Tsing Leu Lee and Its Historical Legacy).
The publisher’s ad leaf in the rear, often lacking but present in this copy, includes an advertisement for the
first edition of Staunton’s Account of the Embassy (noting sets for sale on regular paper, on “fine paper” with
early impressions of the plates, and “few copies with proof impressions of the plates”).
Cordier Sinica 546-7; Löwendahl 748; Lust 715; Morrison I p. 697.
(#28171) $ 7,250
52 SUTHERLAND, Peter Cormack (1822-1900).
Journal of a Voyage In Baffin’s Bay And Barrow Straits, In The Years 1850-1851 Performed by H.M.
Ships “Lady Franklin” and “Sophia,” under the Command of Mr. William Penny, in Search of the Missing
Crews of H.M. Ships Erebus and Terror.
London: Longman, Brown, Green, and Longmans, 1852. 2 volumes, 8vo (7 1/2 x 4 3/4 inches).
[iii]-lii,506; vii,363,ccxxxiii pp. Two color lithographed frontispieces, five lithographed plates (two
tinted in color), two folding maps. Publisher’s red blind-stamped cloth, neatly rebacked preserving
the original spines, endpapers renewed.
An important and scarce Franklin search narrative.
An important and scarce Arctic expedition under the command of Capt. William Penny. The H.M.S. Lady
Franklin and Sophia set out on an expedition in search of Sir John Franklin through Baffin’s Bay and Barrow
Strait, thence north into Wellington Channel where search parties went out and observations were made
to obtain further geological and natural history information in the Arctic. The appendix contains detailed
reports of the travelling parties that were sent out in search of signs of the Erebus and Terror, including to the
unexplored regions beyond Wellington Channel. Also in the appendix are Admiralty papers, meteorological
data, a register of the tides, and illustrations of natural history and geological specimens. The handsome
plates depict life in the Arctic, including “Winter Quarters, Assistance Bay,” “Arctic Travelling,” and natural
history illustrations. The folding maps include “A Chart of the Arctic Regions...” and “A Polar Chart...of
Capt. Penny’s Expedition.” Not in Lande or Lande supplement.
Arctic Bib. 19231 & National Maritime Museum I 905 (both incorrectly calling for 7 plates). Sabin 93693. TPL 3214 (incorrectly
calling for more than 2 folding maps).
(#28655) $ 2,000
53 TRUSLER, John (1735-1820).
A Descriptive Account of the Islands Lately Discovered in the South-Seas.
London: R. Baldwin, 1778. 8vo (8 3/4 x 5 1/2 inches). [4],vii,303,[9]pp. Half-title, publisher’s ad on
verso of final leaf. Uncut. Original blue boards with drab paper spine, contemporary manuscript
titling on spine. Later slipcase. Provenance: Demetrius James (inscription dated 1778); Wrotham
Society (early inscription on upper cover).
An important early compilation of South Seas voyages: in original boards.
“John Trusler is described in the DNB as an eccentric divine, a literary compiler, and a medical empiric.
Throughout his diverse career Trusler published many works, on subjects ranging from philosophy to
farming, but he was most renowned for his Hogarth Moralized and for his various condensations of famous
sermons in cursive-facsimile type for use by the clergy. The present volume is an abridgment and compilation
from several sources, as are many of Trusler’s works. In this particular case, although Trusler extracts from
many famous accounts, his primary source is Cook. The work contains descriptions and history of Tahiti
and the Society Islands, the Friendly Islands, New Hebrides, New Caledonia, New Zealand, Australia, the
Solomon Islands, New Holland, and Kamchatka. It offers lively and entertaining discussions of the customs
of the inhabitants of these various Pacific islands” (Hill).
A very few copies were issued with a folding map which is not present in this copy, nor was it present in the
Hill copy.
Hill 1719.
(#28627) $ 9,750
COLOUR-PLATE, ILLUSTRATED & PHOTOGRAPHY
54 ADAM, Robert (1728-1792).
Ruins of the Diocletian Palace at Spalatro in Dalmatia.
[London]: Printed for the author, 1764. Folio (20 7/8 x 14 3/8 inches). iv, [8], 33pp. Engraved
additional title, 61 engraved plates on 53 sheets (8 double-page, 6 folding), engraved by Bartolozzi,
Zucchi, Patton, Santini and others, mostly after original drawings by Charles-Louis Clérisseau. List
of subscriber’s. Contemporary mottled calf, covers with gilt cornerpieces, spine with raised bands
in eight compartments, lettered in the second, the others with a repeat decoration in gilt, marbled
endpapers (expert restoration at corners and top and tail of spine).
First edition of Adam’s famous work on the ancient Roman architecture of Spalatro: a cornerstone of 18thcentury neo-classicism.
Following a six-week visit to Spalatro, Adam published this book with its elaborately engraved views of the
late Roman palace, intending it to emulate the success of Robert Wood’s The Ruins of Palmyra published
in 1763. In Florence, Adam had met the architect Charles-Louis Clerisseau (1721-1820), who served as
Adam’s instructor for two years and who supervised much of the engraving for the book in Venice (51
plates) and London (11 plates). While Adam acted as leader of the expedition and contributed architectural
observations (as well as gathering subscribers for publication), the preface was written by his cousin, the
Scottish historian William Robertson. The engravings were based on drawings by Clerisseau (six of which
are preserved in the Hermitage Museum), and were said by the Critical Review in October 1764 to possess “a
taste and execution that has never been equalled in this country.” Indeed, when Adam returned to Britain in
1758, “the custom’s officer at Harwich had so admired the drawings that he had charged no duty” (Millard,
p.5). It has been said that the publication of this work launched the Adam style.
Millard II, 1; Berlin Kat. 1893; Brunet I, 46; Cicognara 3567; BAL/RIBA 27; Fowler 2; Harrison pp. 76-81.
(#28314) $ 24,000
55 BOURNE, Samuel (1834-1912); Charles SHEPHERD (fl. 1858-1878) and Arthur ROBERTSON (fl. 18581864); and Juan LAURENT (1816-c.1892).
[Important album containing 90 albumen photographs, predominantly landscape images of India,
including views in the Himalayas, as well as ethnographic studies of its peoples].
[India: circa 1860-1870]. Oblong folio (11 1/2 x 18 inches). 90 mounted albumen photographs (70
by Bourne and 11 by or attributed to Shepherd & Robinson, all of India, the remaining images of
the Alhambra by Laurent), nearly all with period manuscript captions, mounted recto only. Most
images signed and numbered in the negative. Contemporary black morocco, covers bordered in gilt
and blind, expertly rebacked to style, flat spine divided into six compartments by gilt and blind rules,
lettered in gilt in the second compartment, marbled endpapers, gilt edges.
An important collection of photographs by the most influential landscape and architectural photographer active
in India during the nineteenth century.
Born in Nottingham, England, Samuel Bourne was an outstanding landscape photographer. He is now best
known for his valuable and beautiful record of the Indian sub-continent. He wrote of photography that it
allowed him to change the way he looked at the world: “...it teaches the mind to see the beauty and power
of such scenes ... For my own part, I may say that before I commenced photography I did not see half the
beauties in nature that I do now, and the glory and power of a precious landscape has often passed before me
and left but a feeble impression on my untutored mind; but it will never be so again.”
Working in India between 1863 and 1870, Bourne made well over three thousand negatives (mostly using
the collodian process) during his travels, which included three separate expeditions to the Himalayas. Major
collections of his work are held by the British Library (India Office collection), London, and at the Royal
Photographic Society, Bath, England.
The present album is quite unusual in terms of its content, including many more images of Himalayan
landscape than normally encountered. The Bourne images comprise (titles from the manuscript captions,
with Bourne’s negative number in brackets):
1) Calcutta [1704]. 7 3/8 x 12 1/2 inches
2) Calcutta [street scene with the Great Eastern Hotel at the far right, unnumbered]. 7 1/2 x 12 5/8 inches
3) View on the Plains of India [1738]. 7 1/2 x 12 1/2 inches
4) View on the Plains of India [1739]. 7 1/2 x 12 1/2 inches
5) View on the Plains of India [423]. 9 1/8 x 11 1/2 inches
6) Commander in Chief of British Forces in India in Travelling Carriage [unnumbered]. 9 1/8 x 11 3/8 inches
7) State Elephants of the Governor General of India at Agra [unnumbered]. 8 3/8 x 11 1/2 inches
8) Banyan Tree [1748]. 9 1/2 x 11 3/4 inches
9) Benares [1168]. 9 1/4 x 11 3/4 inches
10) Hindoo Astronomical Observatory at Benares [1171]. 9 1/4 x 11 5/8 inches
11) Benares [1169]. 9 1/4 x 11 3/4 inches
12) Palace of Akbar’s Turkish Wife at Futtehpore Sikri [1276]. 9 3/8 x 11 5/8 inches
13) Ancient Hindoo Temple at Birrabund [1305]. 9 3/8 x 11 1/2 inches
14) Buddhist Figures cut in the rock at Gwalior [1328a]. 9 1/2 x 11 1/2 inches
15) Elephant Tower at Futtehpore Sikri [1278]. 9 1/2 x 11 5/8 inches
16) Akbar’s Pillar in Council Chamber [1271]. 11 5/8 x 9 1/4 inches
17) Gooriki Mundi or Temple of Hindoo Saint [1273]. 9 1/2 x 11 5/8 inches
18) Panch Mahal [1275]. 9 3/8 x 11 3/4 inches
19) Hindu Temple at Ramnuggur [1176]. 9 1/2 x 11 3/4 inches
20) Lucknow [1051]. 9 1/2 x 11 5/8 inches
21) Cawnpore - Scene of the Slaughter by Nana Sahib [1208]. 7 5/8 x 12 1/2 inches
22) The Imambara at Lucknow [1052]. 9 1/4 x 11 3/4 inches
23) The Residency at Lucknow [unnumbered]. 7 5/8 x 12 1/2 inches
24) Memorial Monument at Cawnpore [1206]. 11 1/2 x 9 1/2 inches
25) Gate of Mosque enclosing Tomb of Selim Chisti [1263]. 9 1/2 x 11 5/8 inches
26) Tomb of Selim Chisti [1265]. 9 1/4 x 11 5/8 inches
27) Marble Screen in the Tomb of Selim Chisti [1266]. [1265]. 9 1/4 x 11 5/8 inches
28) Entrance Gate to grounds surrounding Tomb of Akbar at Secundra [1247]. 9 1/4 x 11 3/8 inches
29) Tomb of Akbar at Secundra [1251]. 9 1/2 x 11 3/4 inches
30) Upper portion of Tomb of Etmud oo Dowla at Agra [1234]. 9 3/8 x 11 1/2 inches
31) Tomb of Mirza Jahangir [1365]. 9 1/4 x 11 3/4 inches
32) Tomb of Nizam Oo Deen [1364]. 9 x 11 3/8 inches
33) Tomb of Etmud Oo Dowla at Agra [1233]. 9 1/4 x 11 3/8 inches
34) Jumma Musjid (or Mosque) at Delhi [1334]. 9 1/2 x 11 1/2 inches
35) Ruins of Mosque near Delhi [1376]. 9 1/2 x 11 3/4 inches
36) Lahore Gate - Fort at Delhi [1349]. 9 1/8 x 11 5/8 inches
37) Remains of Hindoo Astronomical Observatory near Delhi [1367]. 9 x 11 5/8 inches
38) Delhi Gate - Fort at Agra [1219]. 9 1/8 x 11 3/4 inches
39) Dewan Khas (Audience Chamber or Throne Room) in the Palace within the Fort at Delhi [1350]. 9 1/4
x 11 3/4 inches
40) Mosque [1351]. 9 x 11 5/8 inches
41) Portion of Palace at Goridund [1312]. 9 3/8 x 11 3/4 inches
42) Fort at Agra [1217]. 7 1/4 x 12 1/2 inches
43) Palace of Akbar at Agra - the Taj Mahal in the distance [1221]. 9 1/2 x 11 3/4 inches
44) The Motee Musjid [1229]. 9 1/2 x 11 5/8 inches
45) Entrance Gate to the grounds of the Taj Mahal [1074]. 9 1/4 x 11 3/4 inches
46) Taj Mahal [1077]. 9 1/4 x 11 1/2 inches
47) Taj Mahal - side view [1080]. 9 3/8 x 11 5/8 inches
48) Taj Mahal - from the river [1078]. 9 3/4 x 11 1/2 inches
49) Tomb and Interior of Taj Mahal [1251]. 11 x 8 inches
50) Simla - Summer [1793]. 9 1/2 x 11 5/8 inches
51) Simla - Winter [1757]. 9 1/2 x 11 3/4 inches
52) View in the Himalayas [1535]. 9 1/2 x 11 3/8 inches
53) View in the Himalayas [1432]. 9 1/2 x 11 3/4 inches
54) View in the Himalayas [1506b]. 11 5/8 x 9 1/2 inches
55) View in the Himalayas [1432]. 11 1/2 x 9 1/2 inches
56) View in the Himalayas [261]. 11 1/2 x 9 1/2 inches
57) View in the Himalayas [unnumbered]. 9 1/2 x 11 1/2 inches
58) View in the Himalayas [1529]. 9 1/4 x 12 inches
59) Glaciers in the Himalayas [unnumbered]. 9 1/2 x 11 3/4 inches
60) Source of the Ganges [1543]. 9 1/2 x 11 5/8 inches
61) View in the Himalayas [1545]. 7 1/2 x 12 1/2 inches
62) View in the Himalayas [1452]. 6 3/4 x 12 1/2 inches
63) Town of Dunker Himalayas [1461]. 7 1/2 x 12 1/2 inches
64) Scene in the Valley of Cashmere [unnumbered]. 9 5/8 x 11 5/8 inches
65) Bridge of Twigs in the Himalayas [776]. 9 1/8 x 11 1/2 inches
66) “Mussocks” - Inflated Skins of Bullocks for crossing rivers [unnumbered]. 9 1/2 x 11 3/4 inches
67) Scene in the Valley of Cashmere [825]. 9 3/8 x 11 3/4 inches
68) Scene in the Valley of Cashmere [unnumbered]. 9 1/2 x 11 3/4 inches
69) Scene in the Valley of Cashmere [unnumbered]. 9 1/8 x 11 1/2 inches
70) Mussocks [696]. 4 3/8 x 7 5/8 inches
The India portion of the album closes with 11 ethnographic studies by Shepherd & Robertson, four signed
in the negative and the remaining attributed. Shepherd & Robertson first established their studio in Agra in
1862; in 1864 the firm moved to Simla and was joined by Bourne; the firm’s name changed shortly thereafter
to Bourne & Shepherd. The present fine ethnographic images include several with the earliest version of the
signature in the negative.
71) Rajah and attendants. 7 1/8 x 9 1/4 inches
72) Native servants or Kitmudgars. 7 1/4 x 5 1/2 inches
73) Native servants. 7 1/4 x 5 1/2 inches
74) Dancing Girls. 6 7/8 x 9 inches
75) Weaver. Signed in the negative Shepherd & Robertson and numbered 1104. 7 1/2 x 9 1/8 inches
76) Snake Charmers with cobras. Signed in the negative Shepherd & Robertson and numbered 1123. 7 1/2
x 9 inches
77) Mountaineers of the Himalayas. 8 3/4 x 11 1/2 inches
78) Natives of the Khyber Pass. Signed in the negative Shepherd and numbered 1387. 8 3/8 x 11 3/8 inches
79) Natives of Thibet. 7 1/8 x 9 5/8 inches
80) [Uncaptioned image of four armed natives]. Signed in the negative Shepherd & Robertson. 7 1/2 x 9 3/8
inches
81) Thugs in prison at Jubbulpore. 8 1/2 x 11 1/8 inches
The concluding 9 images are period photographs of the Alhambra, unsigned but by Juan [i.e. Jean] Laurent.
Laurent, born in France but active in Spain as early as 1856, followed Charles Clifford as the best photographer
active in Spain in the 1860s, known for his delicate treatment of architecture and masterful use of light and
camera position.
82) The Alhambra (Spain) with the Sierra Nevadas in the distance. 7 1/2 x 9 3/4 inches
83) The Alhambra with part of the city of Granada. 7 x 10 inches
84) Gateway of the Alhambra. 7 1/2 x 9 3/4 inches
85) Gateway - Interior of Alhambra. 10 x 7 1/2 inches
86) Entrance to the Court of Lions - Alhambra. 7 1/2 x 10 inches
87) Court of Lions. 7 1/2 x 9 3/4 inches
88) Court of Alhambra. 7 1/2 x 10 inches
89) [Interior of the Alhambra]. 9 3/4 x 7 1/2 inches
90) Granada. 7 1/2 x 10 inches
(#28093) $ 35,000
56 BOWYER, Robert (publisher).
A Selection of Fac-similes of Water-Colour Drawings, from the works of the most distinguished British
artists.
London: R. Bowyer, 1825 [plates watermarked 1825]. Folio (20 x 15 inches). Letterpress title, 9
leaves of explanatory letterpress text. 12 fine hand-coloured aquatint plates, on thick stock, after
Samuel Prout (4), R. Hills (3), F. Nicholson (3), J. Smith (1) and W. Collins (1). Contemporary half
calf over marbled paper covered boards, spine lettered in gilt. Provenance: John Rushout, 2d Baron
Northwick (1770-1859, armorial bookplate).
First edition, first issue of a rare colour plate book: a “tour de force of engraving and colouring” (Hardie).
Martin Hardie’s comment about plate 9, could equally be applied to the whole book: it is truly a “tour de
force of engraving and colouring.” The work is also very rare, with only one complete copy appearing in
the auction records over the last thirty years. The images include genre and landscape work with scenes in
England, France and Flanders, and are each accompanied by informed notes about the artists, the subjects or
the original history of the paintings on which the plates are based. The five artists whose work is represented
were amongst the most popular of their day and their work is of a very high quality, but is evident that the
works were also chosen by Bowyer as examples which would show off the mastery of his anonymous printmakers and colourists. This first edition, first issue is complete with 12 plates, each untitled; the work was
reissued in 1828.
This particular copy with provenance to Baron Northwick, a noted collector of art and a Fellow of the Society
of Antiquaries.
Abbey, Life 197; Tooley, p. 67; Prideaux, p. 351; Martin Hardie, p. 145; Bobins, The Exotic and the Beautiful II:618.
(#28198) $ 7,500
57 FARSARI, Adolfo, photographer (1841-1898).
[Pair of albums containing 100 hand-coloured albumen photographs of landscape and costume of
Japan].
[Yokohama: circa 1885-1890]. 2 volumes, oblong folio (10 3/4 x 14 inches). 2 photographic titles,
100 hand coloured albumen photographs, mounted recto and verso to card, images measuring
approximately 7 1/2 x 9 inches (or the reverse). Contemporary black morocco by Ortner & Houle,
spine with semi-raised bands in five compartments, ruled in silver on either side of each band,
lettered in silver in the second compartment, hallmarked silver filigree cornerpieces and uniform
silver hinge and clasp, blue silk endpapers, silver edges (lacking one clasp). Provenance: William
Johnstone (1855-1893, armorial crest and cypher in silver on upper covers).
An elaborately bound pair of albums of hand coloured photographs of Meiji period Japan.
Italian-born photographer Adolpho Farsari established his studio in Yokohama in 1885. “He acquired the
stock, negatives and goodwill of the Japan Photographic Association ... and enjoyed immediate commercial
success” (Bennett). Among the stock were the original negatives of Felice Beato and Baron Stillfried, although
a studio fire in 1886 destroyed them all. “The consequence of this was that he then spent five months on a
photographic tour in order to replenish his stock. This of course was a test of his photographic ability ... By
the end of 1890 Farsari’s studio employed thirty-two staff and was enjoying great success” (Bennett).
Farsari’s images are noted not only for their composition, but more significantly for their vivid hand
colouring. Farsari “discovered a unique and superior form of photographic painting where the colors
themselves apparently did not fade. He also trained his colorists to use colors that accurately reflected the
actual colors in Japanese costumes, scenery and architecture ... It seems likely that Farsari himself must have
had some degree of artistic talent ... Farsari was more than just a competent photographer, with an artist’s eye
for the right scene or portrait ... there is no doubting he was a clever and skillful photographer” (Bennett).
Rudyard Kipling would write: “... In Japan ... you must buy photographs, and the best are to be found at the
house of Farsari & Co.” (quoted in Bennett).
These albums with provenance to William Johnstone (1855-1893), General Manager of the Caledonian
Railway, Writer to the Signet, and descended from the Scottish noble house of Annandale, with his crest and
cypher in hallmarked silver on the upper covers.
Bennett, Photography in Japan 1853-1912, pp. 219-223.
(#28343) $ 9,500
58 FRITH, Francis (1822-1898), photographer.
The Holy Bible, containing the Old and New Testaments ... Illustrated with Photographs by Frith.
Glasgow, Edinburgh and London: William Mackenzie, 1862. 2 volumes, folio (17 3/4 x 13 inches). 57
albumen prints by Frith, mounted on card with printed captions. Publisher’s red morocco, designed
by John Leighton, edges mounted in silver-gilt, and with floral silver-gilt clasps and catches, the sides
with a broad, blind-stamped border around a recessed central panel with the crowned cipher of
Queen Victoria in gilt, spines with raised bands gilt and lettered in compartments, gilt edges.
Very rare deluxe issue of Frith’s photographically illustrated folio Queen’s Bible: one of 170 copies.
By the mid 1850s, Frith had sold his grocery and printing businesses to devote himself full time to
photography. Between 1856 and 1860, he made three expeditions to Egypt, Sinai, Ethiopia, and Jerusalem,
photographically documenting Middle Eastern architecture and culture. “On the first, he sailed up the Nile
to the Second Cataract, recording the main historic monuments between Cairo and Abu Simbel. On the
second, he struck eastwards to Palestine, visiting Jerusalem, Damascus and other sites associated with the
life of Christ. The final expedition was the most ambitious, combining a second visit to the Holy Land with a
deeper southward penetration of the Nile. His photographs of the temple at Soleb, 800 miles south of Cairo,
represent a genuinely pioneering achievement. Unlike many travel photographers of this period, Frith used
the wet collodion process in preference to the more convenient paper-based calotype. Because it involved
chemically sensitizing the glass plates on site, this process posed particular problems in a climate dominated
by heat, dust and insects. Commenting sardonically on how his chemicals often boiled on contact with the
glass, he nevertheless produced negatives that are remarkable for their consistently high technical standard
... Frith photographed most of the key monuments several times, combining general views with close studies
of their significant details and broader views of their landscape environment. The clarity of his images proved
to be of immense value to archaeologists. The photographs are also often powerfully composed, revealing an
understanding of the poetic qualities of light that gives them lasting aesthetic value” (McKenzie, Grove Art)
Also known as the Queen’s Bible as the work is dedicated to Queen Victoria, this magnificent deluxe work
was produced for the Great London Exhibition of 1862, and features Frith’s groundbreaking photographic
studies of the Middle East & Egypt. One hundred and seventy copies were produced and the work was sold
by subscription at the high price of fifty guineas (making it one of the most expensive books of the 19th
century). With this work, Frith “presented the radical possibility of seeing photographs of the biblical sites
alongside related verses of scripture ... he sought to defend and promote his faith by conscripting the veracity
of science and materialism to his cause and considered photography to be the most effective medium for his
campaign” (Foster et al.).
The present deluxe issue is folio in format and contains 57 photographs; it is significantly more desirable
than the similar 1865 quarto bible published by Eyre & Spottiswood, containing 20 smaller format Frith
photographs, with which it is sometimes confused. Only one other example of the deluxe Queen’s Bible
appears in the auction records for the last quarter century.
Foster, Heiting and Stuhlman, Imagining Paradise, pp. 68-9; Gernsheim, Incunabula of British Photographic Literature, 18391875, p. 36, no.184 (20-plate quarto issue); Herbert, The English Bible, 1940; International Exhibition of 1862 catalogue 5259.
(#28302) $ 75,000
59 GORKY, Maxime (1868-1936) - Jean LÉBÉDEFF (1884-1972), illustrator.
Les Vagabonds par Maxime Gorki. Traduction de Ivan Strannik. Bois Gravés par Lébédeff.
Paris : Chez Mornay, 1921. 4to (9 3/4 x 7 7/8 inches). Contents unbound, as issued. Illustrated with
colour woodcuts by Lébédeff (frontispiece plate, 4 headpieces, 5 tailpieces [including tailpiece on
colophon leaf], 4 initials and 12 illustrations within the text). With 30 preliminary pencil or penand-ink sketches by the artist, 8 preliminary woodcut proofs, 25 color woodcut proofs (21 signed),
all tipped into 28 window cut paper mounts [as issued]. Extra-illustrated with a colour woodcut by
Lébédeff, numbered 212/225, signed and inscribed by the artist to Ivan Lamberty, laid in. Publisher’s
vellum wrappers, covers hand illuminated in pen-and-ink by Lébédeff, gold ribbon ties, within
publisher’s dark brown morocco-backed patterned boards chemise and slipcase.
Unique large paper copy number one (of one), on Japon Impérial with the original preliminary sketches for the
illustrations by Lébédeff, as well as signed artist’s proofs of the illustrations, and bound in a hand-illuminated
binding by the artist.
A unique, deluxe issue of this work, usually found as one of 960 copies on papier de Rives (from a total
edition of 1000, the remaining 39 copies being hors commerce or other limited but less deluxe versions).
Jean Lébédeff (born Ivan Lebedev in Bogorodskoye), began his studies under Fernand Cormon at the Ecole
Beaux-Arts in Paris in 1909 and became a noted graphic designer and book illustrator in Paris between the
wars, acclaimed for his wood-cuts. A well-known anarchist, his work was exhibited at the 1926 International
Exhibition of Revolutionary Art of the West in Moscow; his work would later be featured in the 1979
retrospective “Paris Moscou 1900-1930” at the Centre Georges Pompidou.
Vagabonds was a tremendously influential work by Gorky, here in French from the translation by Ivan
Stannik. The work, with strong autobiographical elements, is comprised of four short stories featuring
Russian vagabonds, titled: Malva; Konovalov; Tchelkache; and Mon Compagnon.
The provenance of this copy, given the extra-illustration laid in, would seem to be Ivan Lamberty, a noted art
patron and collector in Brussels.
(#28268) $ 22,500
60 GREIG, Thomas Watson (d. 1912).
Ladies’ Old-Fashioned Shoes ... [Bound with:] Supplement to Old-Fashioned Shoes.
Edinburgh: David Douglas, 1885-1889. 2 volumes in one, oblong folio (11 x 17 1/4 inches). 11
chromolithographed plates, some printed with gold and silver inks, each plate with a corresponding
text leaf describing the shoes. [Supplement, bound in rear:] 6 plates (4 chromolithographed).
Publisher’s paper-covered red and gold pictorial boards, expertly rebacked to style with red morocco.
Provenance: The author (signature on front free endpaper and annotations throughout).
The author’s annotated copy of the scarce first edition of this desirable illustrated monograph on women’s shoes
of the 17th century, complete with the supplement.
“The following Illustrations of Old Shoes are intended to preserve in an intelligible form what is fast
crumbling into dust; and it has been my endeavour to collect the very best and most authentic specimens,
as well as to show the variety of shapes and the excellence of the workmanship and design used by our
ancestors” (Preface).
The author’s annotations are fascinating. On the rear endpaper, Grieg reveals that only 250 copies of the
work were printed and lists 62 copies which he presented, the first being to the Princess of Wales. The front
pastedown includes a list of shoes loaned to Joseph Box for an 1889 exhibition, a broadside advertisement
for which is laid in. Within the work, Grieg provides additional details relating to specific shoes, including
in many cases the provenance of the shoe prior to the author. On the title page the author has added
“second edition” in manuscript below the imprint, suggesting that he intended to republish the work with
the supplement, annotations and corrections, though no such edition was ever published.
Hiler, p. 395; Lipperheide 1744 and 1744a; Colas 1312-13.
(#28348) $ 12,000
61 HEINE, Wilhelm (1827-1885).
Graphic Scenes of the Japan Expedition.
New York: GP Putnam & Company, 1856. Folio (20 1/4 x 14 1/2 inches). 12 ff. letterpress text. 10
lithographic prints (one tinted portrait of Perry from a daguerreotype by P. Haas, nine views by
Heine [two of these chromolithographed, seven printed in two colours on india paper mounted]),
all printed by Sarony & Co. 20th-century maroon half morocco over paper-covered boards, titled in
gilt on spine, original wrappers bound in.
An important work recording Commodore Perry’s expedition to Japan.
William Heine was the official artist on Commodore Matthew C. Perry’s expedition to Japan in 1853-54. On
returning to the United States he produced several series of prints commemorating the trip. A group of six
elephant-folio prints appeared in 1855, and the following year the present volume was issued, in a smaller
format, with different images and with explanatory text. Both projects employed the New York lithographic
firm of Sarony, among the best lithographers in the United States at that time. “As artistic productions, the
pictures speak for themselves ... none superior to them have been executed in the United States, and they
have no cause to shun comparison with some of the best productions of Europe” (Introduction). Copies were
produced tinted on regular paper as in the present copy and hand-coloured.
The plates are numbered and titled as follows [1. portrait of Perry]; 2. Macao from Penha Hill; 3. Whampoa
Pagoda; 4. Old China Street, Canton; 5. Kung-kwa at On-na, Lew-Chew; 6. Mia or road side chapel at
Yokuhama; 7. Temple of Ben-teng in the harbor of Simoda; 8. Street and bridge at Simoda; 9. Temple of the
Ha-tshu Man-ya-tshu-ro at Simoda; 10. Grave yard at Simoda Dio Zenge.
Bennett describes the plates as “many times finer than those in the regular account of the Perry expedition.”
His remarks on the work’s great rarity are confirmed by its absence from both of Cordier’s Japanese
bibliographies.
Bennett, p.53; McGrath American Color Plate Books 123.
(#20647) $ 34,000
62 JACKSON, John Baptist (c.1701-c.1780).
Titiani Vecelii Pauli Caliarii Jacobi Robusti et Jacobi de Ponte Opera selectiora a Joanne Baptista
Jackson, Anglo ligno coelata et coloribus adumbrata.
Venice: J. Baptist Pasquali, [1739-]1745. Large folio (23 1/3 x 18 3/4 inches). Letterpress title page.
24 chiaroscuro woodcuts, each printed in four colours. Expertly bound to style in quarter marbled
calf with tips over period Italian patterned paper covered boards, spine with raised bands in eight
compartments, red morocco lettering piece in the second compartment, the others with a repeat
decoration in gilt.
Very rare complete set of the twenty-four chiaroscuro woodcuts which make up Jackson’s masterpiece: one of the
great glories of 18th-century printmaking.
Jackson began the Titiani Vecelii... in 1739 with three subscribers, and despite difficulties in obtaining other
subscribers due to the outbreak of war in Europe, he managed to complete the twenty-four prints depicting
17 paintings, by 1743, and the work was published in 1745. During the four and a half years Jackson was
involved in this project, he included the techniques of embossing in his prints, cut and proofed ninetyfour blocks, and brought chiaroscuro forward as a strong alternative to standard engraving as a means of
reproducing paintings. In his book of 1754, An Essay on the Invention of Engraving and Printing in Chiaro
Oscuro, Jackson comments on his medium; “... there is a masterly and free Drawing [in chiaroscuro], a
boldness of Engraving and Relief, which pleases a true Taste more than all the little Exactness found in the
Engravings in Copper plates...”
The set of woodcuts is as follows:
1. The Death of St. Peter Martyr, after Titian, 1739, printed from four blocks in buff, pale greenish gray,
brown and dark gray. [Kainen 16].
2. The Presentation in the Temple (The Circumcision), after Veronese, 1739, dedicated to Charles Frederick
Armiger, printed from four blocks in buff, reddish gray, dark gray and dark brown, [Kainen 17].
3. The Massacre of the Innocents, after Tintoretto, 1739, dedicated to Smart Lethieullier, printed from four
blocks in buff, violet-gray, light brown and dark violet-brown, [Kainen 18].
4. The Entombment, after Jacopo Bassano, 1739, dedicated to Jacob Faccilato, printed from four blocks in
buff, light reddish tan, gray and dark brown, slight surface scuff in middle of image. [Kainen 19].
5. Holy Family and Four Saints, after Veronese, 1740, dedicated to William Windham, printed from four
blocks in light gray, light greenish gray, dark greenish gray and dark gray, [Kainen 20].
6. The Mystic Marriage of St. Catherine, after Veronese, 1740, dedicated to William Windham, printed from
four blocks in pale greenish gray, pale violet-gray, medium greenish gray and deep cold gray, [Kainen 21].
7. The Crucifixion, after Tintoretto, left sheet, printed from four blocks in buff, light brown, gray and dark
reddish brown, [Kainen 22].
8. The Crucifixion, after Tintoretto, center sheet, 1741, dedicated to Richard Boyle, printed from four blocks
in buff, light brown, gray and dark reddish brown, [Kainen 22].
9. The Crucifixion, after Tintoretto, right sheet, printed from four blocks in buff, light brown, gray and dark
reddish brown, [Kainen 22].
10. Miracle of St. Mark, after Tintoretto, left sheet, dedicated to Edward Wright, printed from four blocks in
buff, light brown, dark brown and dark gray, [Kainen 23].
11. Miracle of St. Mark, after Tintoretto, right sheet, printed from four blocks in buff, light brown, dark gray,
three tears in image, [Kainen 23].
12. The Marriage at Cana, after Veronese, left sheet, 1740, printed from four blocks in buff, dark buff, violetbrown and dark brown, [Kainen 24].
13. The Marriage at Cana, after Veronese, right sheet, 1740, dedicated to Leopold Capell, printed from four
blocks in buff, dark buff, violet-brown and dark brown. [Kainen 24].
14. Presentation of the Virgin in the Temple, after Titian, left sheet, 1742, printed from four blocks in light
grayish umber, medium brown, dark gray and dark brown, [Kainen 25].
15. Presentation of the Virgin in the Temple, after Titian, center sheet, 1742, printed from four blocks in light
gray, sienna gray, gray-brown, and dark gray, [Kainen 25].
16. Presentation of the Virgin in the Temple, after Titian, right sheet, 1742, dedicated to Erasmus Phillips,
printed from four blocks in light gray, sienna gray, gray-brown and dark gray, [Kainen 25].
17. The Virgin in the Clouds and Six Saints, after Titian, 1742, dedicated to Philippo Farsetti, printed from
two blocks in buff and black. [Kainen 26].
18. The Descent of the Holy Spirit, after Titian, dedicated to Jacob Stewart Mackinzie, printed from four
blocks in buff, light gray-brown, light yellow-brown and dark brown, [Kainen 27].
19. The Finding of Moses, after Veronese, 1741, dedicated to Everard Fawkener, printed from four blocks in
buff, light brown, light violet-gray and dark gray, [Kainen 28].
20. The Raising of Lazarus, after Leandra Bassano, 1742, dedicated to Vicenzo Riccardi, printed from four
blocks in buff, light reddish gray, gray and dark cold brown, [Kainen 29].
21. Christ on the Mount of Olives, after Jacopo Bassano, 1743, dedicated to Paulina Contarina, printed from
four blocks in dark buff, medium brown, gray and dark brown, [Kainen 30].
22. Melchisedech blessing Abraham, after Francesco Bassano, 1743, dedicated to John Reade, printed from
four blocks in buff, warm gray, brown and dark brown, [Kainen 31].
23. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, left sheet, 1743, printed from four
blocks in buff, warm gray, brown and dark brown, [Kainen 32].
24. Dives and Lazarus (The Rich Man and Lazarus), after Jacopo Bassano, right sheet, 1743, printed from
four blocks in buff, warm gray, brown and dark brown, [Kainen 32].
Bigmore & Wyman A Bibliography of Printing (1880-1886) I, pp.205 and 365; Burch Colour Printing and Colour Printers pp.7277; Chatto & Jackson A Treatise on Wood-Engraving (1861) pp.453-457; Frankau Eighteenth-Century Colour-Prints (1907)
pp.42-46; Hardie English Coloured Books (1906) pp.19-27; Kainen John Baptist Jackson: 18th-Century Master of the Color
Woodcut (1962); Le Blanc Manuel de l’amateur d’estampes (1854-1888) II, p.416; Linton The Masters of Wood Engraving (1889)
p.214; Nagler Allgemeines Kunstler-Lexicon (1835-1852) VI, pp383-384.
(#2778) $ 37,500
63 ROBERTS, David (1796-1864).
The Holy Land, Syria, Idumea, Arabia ... From drawings made on the spot ... With historical descriptions,
by The Revd. George Croly.
London: F.G. Moon, 1842-1843-1849. 3 volumes. 3 tinted lithographic titles, lithographic portrait
of Roberts by C. Baugniet on india paper mounted, 120 tinted lithographic plates (60 full-page, 60
half-page vignettes), all drawn on stone by Louis Haghe after David Roberts, one engraved map.
[With:] David ROBERTS. Egypt & Nubia, from drawings made on the spot ... With historical descriptions
by William Brockedon. London: F.G. Moon, 1846-1849-1849. 3 volumes. 3 tinted lithographic titles,
121 tinted lithographic plates (61 full-page, 60 half-page vignettes), all drawn on stone by Louis
Haghe after David Roberts, one engraved map.
2 works in 6 volumes, large folio (23 11/16 x 17 1/4 inches). Contemporary full red morocco, bound
by John Kelly of London, covers tooled in blind and with wide gilt borders, expertly rebacked to
style, spines with wide semi-raised bands in seven compartments, lettered in the second and fifth,
the others with a repeat decoration in gilt, marbled endpapers, gilt edges.
Very fine copies of the tinted edition of Roberts’ monumental works on the Middle East: the Holy Land, Syria,
Idumea, Arabia and Egypt. These two works constitute the greatest lithographically illustrated work issued in
the 19th century.
Roberts’ masterpiece was issued in 41 parts over seven years. It is beautifully lithographed by Louis Haghe,
to whom Roberts paid tribute in glowing terms: “Haghe has not only surpassed himself, but all that has
hitherto been done of a similar nature. He has rendered the views in a style clear, simple and unlaboured,
with a masterly vigour and boldness which none but a painter like him could have transferred to stone.”
Abbey regarded the work as “one of the most important and elaborate ventures of nineteenth-century
publishing, and ... the apotheosis of the tinted lithograph.”
David Roberts was born at Stockbridge near Edinburgh, and at the early age of 10 apprenticed to Gavin Buego,
a house painter. He continued to work for Buego after his apprenticeship had been completed, carrying out
work on imitation stone-work and paneling at Scone Palace and Abercairney Abbey. By 1818 Roberts had
become assistant scene painter at the Pantheon theater in Edinburgh, moving on to work in theatres in
Glasgow and finally in late 1821 to Drury Lane theatre in London, where he worked with Clarkson Stanfield.
Both artists exhibited at the Society of British Artists, Royal Academy and British Institution, and by 1830
Roberts was firmly established as a topographical artist and was able to give up his theatre work. In these
early years he toured the continent and Scotland, and in 1832-33 visited Spain. In 1838 he made plans for his
journey to the Near East, inspired by a love of artistic adventure; departing in August 1839 for Alexandria,
he spent the remaining part of the year in Cairo, visiting the numerous tombs and sites. In February of the
following year he set out to cross the desert for the Holy Land by way of Suez, Mount Sinai and Petra arriving
in Gaza, and then on to Jerusalem, concluding his tour spending several months visiting the biblical sites of
the Holy Land, and finally returning to England at the end of 1839. The drawings of his tour were submitted
to F.G. Moon in 1840 who arranged to bring out a work illustrative of Scripture History, paying Roberts £
3,000 for copyright to the sketches, and for his labour in supervising Louis Haghe’s lithography. Both the
exhibition of his original watercolours and the subsequent published work were an immediate success and
confirmed his reputation as an architectural and landscape artist of the highest order.
Abbey Travel I, 272 & II, 385; Blackmer 1432; Gay 25; Ibrahim-Hilmy II,p.176; Lipperheide Ma27; Röhrict 1984; Tobler p. 229;
Tooley 402.
(#28437) $ 87,500
64 SALT, Henry (1780-1827).
Twenty-four views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia, & Egypt.
London: published by William Miller, 1809 [plates watermarked 1805, interleaves watermarked
1808]. Broadsheets (31 x 23 inches). Engraved and mounted on guards throughout, interleaved with
blank leaves of contemporary wove paper. Aquatint dedication with integral title, 24 hand-coloured
aquatint plates by D. Havell (19), J. Bluck (4) and J. Hill (1), supervised by Robert Havell, all after
Salt. Later half tan morocco over light brown cloth covered boards, spine with raised bands in six
compartments, each band tooled in black and ruled in gilt on either side, lettered in gilt in the second
and third compartments.
A complete set of the very fine large format views in India and Egypt after Henry Salt: with the plates on full
untrimmed sheets and with early issue watermarks.
Henry Salt, artist, traveller, diplomat and collector of antiquities, was born in Lichfield, Staffordshire,
England 14 June 1780. He was destined to be a portrait-painter, and on leaving school was taught drawing
by Glover, the watercolour-painter of Lichfield. In 1797 he went to London and became a pupil of Joseph
Farington, R.A., and in 1800 of John Hoppner, R.A. The turning point in his career came when he was
appointed secretary and draughtsman to George, Viscount Valentia. On 3 June 1802 Salt left London for an
eastern tour with Viscount Valentia.
“He visited India, Ceylon, and the Red Sea, and in 1805 was sent by Valentia on a mission into Abyssinia, to
the Ras of Tigré, whose affection and respect he gained, and with whom he left one of his party, Nathaniel
Pearce. Lord Valentia’s Travels in India (1809) was partly written and completely illustrated by Salt, who
published his own 24 Views in St Helena, India and Egypt in the same year” (ODNB).
In Calcutta, the party was entertained by the Governor-General, Marquis Wellesly, to whom the volume
of plates is dedicated, and then travelled to Benares, Lucknow, Ceylon, and Madras. Salt then explored the
Red Sea, returned to Bombay and Poona, before making an extensive tour into the Abyssinian highlands
in 1805. The return to England was made by way of Egypt, where he met the pasha, Mehmet Ali, returning
to England on 26 Oct. 1806. He made many drawings, some of which served to illustrate Lord Valentia’s
Voyages and Travels to India, published in 1809. The originals of all his drawings were retained by Lord
Valentia, who also retained the ownership of the copper plates after Salt’s death.
Contemporary advertisements make clear that the work was designed to be similar in size and presentation
to the plates of Thomas and William Daniell’s great work, Oriental Scenery (1795-1808): the undoubted
artistry of Salt and his engravers have ensured that this work is a worthy successor.
Abbey Travel 515; Howgego, I, S6; Tooley 440.
(#28235) $ 72,500
65 (SCOTT, Sir Walter [1771-1832]).
Scott’s Illustrations [cover title: pair of albums containing 108 watercolour and gouache drawings
illustrating scenes from Scott’s Waverley Novels, commissioned by E.W. Martin].
[Great Britain]: [1830s-1840s]. 2 volumes, oblong small 4to (7 1/4 x 9 1/4 inches). 108 watercolour
and gouache paintings on card, each approximately 3 1/4 x 4 1/4 inches, each with a pen-and-ink
and wash border, each mounted onto green paper within the album (all but one mounted recto only),
each captioned in ink below the image referencing the scene depicted. Contemporary black morocco,
covers elaborately stamped in blind, upper covers lettered in gilt, flat spines gilt. Provenance: Edward
Wenman Martin (d. 1853, inscriptions and signatures); J. H. Dixon (Sotheby, Wilkinson & Hodge,
6-9 August 1866, lot 738); William Sankey (bookplate).
Lovely miniature paintings depicting scenes from Scott’s Waverley Novels, commissioned by a noted 19th century
collector.
Martin has inscribed the endpaper of the first volume: “No other compleat set can be obtained as they
were done for me & ... the artist died within a few days.” He similarly inscribed the second volume: “This
collection of drawings was done for me expressly under my direction. No other exists...”
Martin’s library was sold at auction in May 1853 by Sotheby & Wilkinson, and his noted collection of
English portraits sold by them later that year. Although the artist of the paintings is unnamed, they are quite
accomplished and a wonderful example of the genre.
cf. Catherine Gordon, “The Illustration of Sir Walter Scott: Nineteenth Century Enthusiasm and Adaptation” in Journal of the
Warburg Institute, Vol. 34, (1971), pp. 297-317.
(#28323) $ 14,500
66 SHOBERL, Frederic (1775-1853).
The World in Miniature ... Persia, containing a brief description of the country; and an account of its
government, laws and religion, and of the character, manners and customs, arts, amusements &c. of its
inhabitants.
London: R. Ackermann, [1822] . 3 volumes, 12mo (5 1/2 x 3 3/8 inches). 30 hand coloured stipple
engraved plates (plates watermarked 1822). Period half red morocco over marbled paper covered
boards, spine with semi-raised bands in five compartments, lettered in the second and fourth, the
others with a repeat overall decoration in gilt, marbled endpapers and edges.
Shoberl’s Persia, complete with all hand coloured plates and in a lovely period binding.
“The aim of this interesting series ... [was] to increase the store of knowledge concerning the various branches
of the great family of Man” (Abbey). The religions, customs, arts, and geography of Persia are described, as
taken from some of the most famous accounts of the day, as well as incorporating new information. The
work is comprehensively illustrated with superb hand-colored plates of costumes, ceremonies, architecture,
crafts, boats, musical instruments, and other scenes. Shoberl’s series The World in Miniature, with each
part published between 1820 and 1827 and sold separately, ran to 42 volumes, covering Africa, Russia,
Hindoostan, Turkey, China, and virtually every other part of the occupied world.
Abbey Travel 6; Tooley 515; Colas 2726.
(#27708) $ 1,500
67 SMYTH, John Richard Coke (1808-1882).
Sketches in the Canadas, by Coke Smyth.
London: printed by A. Ducôte, published by Thomas McLean, [circa 1840]. Folio (21 1/2 x 14
1/2 inches). Lithographed throughout. Tinted title with integral vignette, dedication to the Earl of
Durham with list of drawings on the verso, 22 tinted lithographed plates after Smyth. Contemporary
half purple morocco over purple cloth covered boards, spine with wide semi-raised bands in seven
compartments, lettered in the second compartment, the others with an overall repeat decoration in
gilt, gilt edges, glazed yellow endpapers.
A very rare work recording Smyth’s impressions of Canada, executed during the tenure of Lord Durham as
Governor General.
These fine plates are from original sketches made by Smyth whilst in the employ of the Earl of Durham as
drawing master to his daughters Mary, Emily and Alice. Smyth probably arrived in Canada in May 1838,
and, assuming he remained as the Earl’s daughter’s drawing master would have returned to Great Britain in
November of the same year.
The complete set of plates therefore offer a view of Canada during a very difficult period in her history:
suppression of a rebellion was the reason the Earl was in Canada, and shortly after he returned to England
an insurrection broke out again. The work includes a wide variety of subjects: topographical views (Niagara
Falls, Falls of Montmorency, American Fort, Niagara River), genre scenes (Moos [sic.] Hunter, Indians
bartering, Buffalo Hunting), town views (Montreal, entrance to Toronto, Quebec from the Chateau), and
also historical reportage (Attack and Defense of Rebels at Dickinson Landing, Engagement in the Thousand
Islands).
Abbey notes three possible issues of the present work: hand-coloured mounted on thick card, hand-coloured
and uncoloured tinted lithographs (as the present). The work is rare in any form; only three copies of any of
the issues have appeared at auction in the last thirty years.
Abbey Travel II, 625;. Gagnon I:3341; Lande 2215; Sabin 85203; Spendlove p.42; Tooley 460; TPL 2549.
(#28382) $ 24,000
68 THOMSON, John (1837-1921) and Adolphe SMITH HEADINGLEY (1846-1924).
Street Life in London.
London: Sampson Low, Marston, Searle & Rivington, 1877-78. 4to (10 5/8 x 8 inches). [4], 100pp.
37 woodburytypes on 36 leaves, each with printed caption and red ruled border. Publisher’s pictorial
red cloth, decoratively stamped in gilt, red and black, gilt edges.
“The first photographic social documentation of any kind” (Gernsheim).
Thomson’s photographs in Street Life in London and the commentary upon the images by Thomson and
Adolphe Smith, depict a London in which life is a harsh and continuous struggle. The characters on view
here are familiar to us more from Dickens’ novels or from an idea of the Whitechapel of Jack the Ripper
than from any nostalgic image of a strait-laced or patrician Victorianism. Thomson and Smith are, however,
sympathetic to the objects of their study and seem intent on cataloguing the variety of types to be found
rather than attempting any Barnum-like freakshow. As Thomson himself writes: “The precision and accuracy
of photography enables us to present true types of the London poor and shield us from the accusation of
either underrating or exaggerating individual peculiarities of appearance.”
“Street Life in London is a pioneering work of social documentation in photographs and words ... one of the
most significant and far-reaching photobooks in the medium’s history” (Parr & Badger).
Hasselblad 42; Gernsheim, p. 447; Truthful Lens 169; Parr & Badger I:p.48.
(#28233) $ 22,500
69 TRIPE, Linnaeus (1822-1902).
Photographs of the Elliot Marbles; and other subjects; in the Central Museum Madras [cover title].
Bangalore: 1858 [-1859]. Oblong folio (13 x 17 7/8 inches). 2 leaves of letterpress: introduction
(dated June 1859) and index of photographs]. 75 albumen photographs from 76 dry collodion
glass negatives (the penultimate print made from two negatives), mounted on 51 leaves, as issued,
images measuring from 170 x 60mm. to 260 x 342mm., or the reverse. Tripe’s “Photographer to
Government” embossed blind stamp on each mount, pagination in ink in upper right corner of each
mount, as issued. Expertly bound to style in half black morocco over original buff paper covered
boards, lettered on the upper cover. Housed in a modern black morocco box.
An important book by Tripe from the dawn of photography in India: a rare complete example and one of less
than twenty surviving examples.
This series of photographs records sculptures from the ruined Buddhist stupa at Amaravati, in Andhra
Pradesh, southeastern India, which had been excavated in 1845 by Walter Elliot, an employee of the Madras
Civil Service. They were transported to Madras where Tripe photographed them before being shipped to
London.
The extreme difficulties in producing the album are described in the introduction: “These Photographs were
taken by Captain Tripe in the months of May and June [1858], after a wearying tour through Trichinpoly,
Madura and Tanjore Districts, during the preceding four months and a half. Many of the subjects being
heavy masses, and therefore not to be easily transported into the open air, were taken as they were lying, in
the rooms of the Museum. To enable him to attempt them at all he was obliged to use a dry collodion process,
with which he had only recently made acquaintance. In printing from the above mentioned negatives,
their density, though apparently in their favor, increased the liability to yellowness in the lights, so much
complained of in toning a print on albumenised paper with gold.”
The Madras Government commissioned “seventy positive copies from each of his listed Elliot Marbles
negatives, which were to be ‘mounted in book form...’”, though the order was revised in February 1859 to
encompass only the images “’of greatest interest and importance of which possess artistic merit’” (Dewan, p.
609). Printing of the images began in August 1858, and was completed in March 1859, slowed by his whiting
out the backgrounds on each negative and difficulties in printing described above.
The result was a stunning photographically illustrated monograph and an incunable of photographically
illustrated works published in India. Walter Eliott, the archaeologist who discovered the marbles, described
Tripe in 1859 as the “ablest artist” in southern India.
Tripe’s Elliot Marbles is very rare; Dewan cites but 16 extant examples, not including the present. Two
further examples have traded at auction in the last decade.
Dewan, J. The Photographs of Linnaeus Tripe. A Catalogue Raisonné (Toronto: Art Gallery of Ontario, 2003).
(#28206) $ 137,500
NATURAL HISTORY, INCLUDING LANDSCAPE DESIGN
70 AUDUBON, John James (1785-1851).
The Birds of America, from drawings made in the United States and their territories.
New York & Philadelphia: Audubon and J.B.Chevalier, 1840-1844. 7 volumes, royal octavo (10
3/8 x 6 5/8 inches). Half-titles. 500 hand-coloured lithographed plates after Audubon by W.E.
Hitchcock, R. Trembley and others, printed by J.T. Bowen of Philadelphia (plates 1-135, 151-500)
or George Endicott of New York (plates 136-150), numerous wood-engraved anatomical figures in
text. Contemporary black morocco, covers bordered in gilt, spines with wide semi-raised bands in
five compartments, each band tooled in gilt, lettered in the second and fourth compartments, glazed
yellow endpapers, gilt edges.
The first octavo edition of Audubon’s Great National Work. This is the first complete edition and the first
American edition. The work is one of the “most beautiful, popular, and important natural history books
published in America in the nineteenth century... representing the best of pre-Civil War American lithography
and giving Audubon the opportunity finally to display his scholarship and genius to a large American audience
for the first time” (Ron Tyler).
The plates, here accompanied by the text for the first time, were reduced and variously modified from the
Havell engravings in the double-elephant folio. Seven new species are figured and seventeen others, previously
described in the Ornithological Biography but not illustrated, were also shown for the first time. Audubon
may have been prompted to publish the reduced version of his double-elephant folio by the appearance in
1839 of John Kirk Townsend’s rival Ornithology of the United States; or, as he writes in the introduction to
the present work, he may have succumbed to public demand and his wish that a work similar to his large
work should be published but “at such a price, as would enable every student or lover of nature to place it in
his Library.”
The first edition of the octavo work is certainly the most famous and accessible of all the great American
colour plate books, and now represents the only realistic opportunity that exists for collectors to own an
entire collection of Audubon images in a form that was overseen and approved by the great artist himself.
The octavo Birds of America was originally issued in 100 parts, each containing five plates. The whole story of
the production of the book, with detailed information about every aspect of the project, is told by Ron Tyler
in Audubon’s Great National Work (Austin, 1993). The story Tyler tells of the difficulties of production and
marketing are revealing of the whole world of colour plate book production in mid-19th-century America.
By combining detailed text with careful observations next to his famous images, Audubon proved that he
was as good a scientific naturalist as the members of the scientific establishment who had scorned him.
Bennett p.5; Fries, Appendix A; Nissen IVB 51; Reese Stamped With A National Character 34; Ripley 13; Ron Tyler Audubon’s
Great National Work (1993) Appendix I; Sabin 2364; Wood p.208; Zimmer p.22.
(#28569) $ 80,000
71 BADGER, Clarissa W. Munger (1806-1889).
Floral Belles from the Green-House and Garden.
Painted from Nature.
New York: Charles Scribner & Company, 1867
[but December 1866]. Folio (17 x 12 7/8 inches).
Hand-coloured lithographed frontispiece and
15 hand-coloured lithographed plates, coloured
by Mrs. Badger. Publisher’s full black morocco,
upper cover with broad floral gilt borders
and gilt lettered title, rear cover with floral
border in blind, rebacked to style, spine in six
compartments with a repeat decoration in gilt,
gilt inner dentelles, marbled endpapers, gilt
edges.
A charming American flower book with handcoloured plates: among the best folio flower books
produced in America.
Mrs. Badger was an illustrator with an intuitive
feeling for the decorative, as she amply demonstrates
in this book, a companion to her Wild Flowers
(published 1859), though here focussed on the
greenhouse and garden. “Contains 16 very beautiful
full page flower plates in many colors and shades.
Each flower portrayed is also the subject for a poem which serves as text for the illustration” (Bennett).
Species represented include Azalea, Geranium, Roses, Jasmine, Bretia (Frontispiece); Camellia & Begonia,
Night Blooming Cereus; Fuchsias, Cactus, Scarlet Geranium; Calla & Poincettia; Passion-Flowers, a bouquet
of Roses, Narcissus, Hyacinth, Lily of the Valley, Tulip & Dielytra; Salvia & Dielytra; Pansies, Moss Rose;
Tulips, Rose of Gethsemane; Larkspur & Japan Lily; Asters.
The handcoloured plates, coloured by Mrs. Badger over very light lithographed lines and without
captions (thus giving the plates the appearance of original watercolours), were executed in an era when
chromolithographs were fast replacing such skilled hand work. A contemporary advertisement for the work
by the publisher, who priced the work $30 when issued, describes it as follows: “The volume is a stately folio,
elegantly bound in Turkey morocco and the paper and presswork, and the whole mechanical execution are
perfect. There are sixteen pictures in the volume -- favorite or representative flowers -- and each of them is
painted from nature by the patient and laborious hand of the artist, and with such exquisite care and taste,
and delicacy of touch as to vie with nature herself.” A review of the work in a December 1866 issue of Hours
at Home proclaimed the work “without exaggeration, a most unique, highly artistic and gorgeous affair -- a
work that reflects great credit on the artistic taste of the country, as well as on the genius and industry of the
author.”
“Though little is known about her life other than the landmark dates of her birth, marriage and death, Mrs.
Badger’s fine drawings and talented hand have survived to keep her name alive” (J. Kramer, Women of
Flowers, New York: 1996).
Nissen BBI 56; Bennett p. 6; McGrath, p. 57.
(#28375) $ 5,750
72 [DEZALLIER D’ARGENVILLE, Antoine Joseph (1680-1765).
La Théorie et la Pratique du Jardinage.
Paris: Jean Mariette, 1709. Quarto (10 x 7 5/8 inches). [8], 208pp. 32 engraved folding plates. Period
speckled calf, spine with raised bands in six compartments, morocco lettering piece in the second
compartment, the others with a repeat decoration in gilt. Provenance: Hugh Earle of Loudoun, 3rd
Earl of Loudoun (d. 1731, armorial bookplate).
Scarce first edition of the most influential French work on garden design of the first half of the eighteenth century.
“The author was at various times maitre de comptes for Paris and counsellor to the King of France. A writer,
naturalist and collector, he studied architecture under Alexandre Le Blond, to whom the work has sometimes
been incorrectly ascribed, drawing under Bernard Picant and painting under Roger de Piles ... [The work]
describes the manner of gardening practiced by Andre Le Notre (1613-1700), who designed or redesigned
the gardens of Versailles, the Tuileries and Fountainebleau. The work deals with garden design and such
details as the creation of parterres, mazes, garden buildings, ornaments, and fountains ... According to
Henrey, Le Blond, the noted architect and designer of the Peterhof garden, did the original sketches for about
three quarters of the plates, with the remainder done by the author” (Johnston).
“It is especially valuable as a record of the manner of gardening as practised by Le Notre. The original French
work appeared anonymously in Paris in 1709, and in the opinion of Gothein: ‘Never before did a book lay
down the principles of any style so surely and so intelligibly in instructive precepts.’ The popularity of the
work is attested by the fact that it was published five times in Paris, three times at the Hague and three times
in London” (Henrey).
Hunt 421; Johnston 324; cf. Henrey II: pp491-493.
(#28388) $ 1,850
73 DONOVAN, Edward (1768-1837).
Natural History of the Insects of India, containing upwards of two hundred and twenty figures and
descriptions ... A New Edition ...
London: Henry G. Bohn, 1842 [plates watermarked 1841]. 4to (12 x 9 1/2 inches). 58 hand-coloured
engraved plates. (Minor foxing to the text leaves, plates generally bright and clean). Publisher’s russet
cloth, covers stamped in blind and gilt.
The most beautiful work on the insects of India.
Edward Donovan (1768-1837) formed one of the most extensive natural history collections of his time,
housed in the London Museum and Institute of Natural History, and authored several important works
on entomology. First published between 1800-1804, being the first illustrated publication devoted to the
insects of India, this new edition of the Epitome is revised and enlarged by J. O. Westwood, “with systematic
characters of each species, synonyms, indexes, and other additional matter.” Westwood writes in the Preface:
“At the period when the first edition of this work was presented to the public, the study of exotic insects,
and indeed the science of entomology itself, had made but little progress in this country ... The progress of
entomology, as a science, has so much advanced, as to render a republication of this work advisable...” Besides
the valuable additions the hand colouring of the plates is superb (characteristic of the works published by
Bohn of the period) and is in many ways preferable to the first edition. Dance writes: “ ... the paint is laid on
so thickly that it is frequently impossible to see the engraved lines underneath. The already rich colouring
is heightened by the addition of burnished highlights, albumen overglazes and metallic paints to give an
overall effect reminiscent of the work of a miniaturist. Surprisingly, these techniques often combined to
produce a very pleasing and delicate effect” (Dance, Art of Natural History p. 87).
Nissen ZBI 1144.
(#28399) $ 5,800
74 DUHAMEL DU MONCEAU, Henri Louis (1700-1782).
Traité des Arbres et Arbustes qui se cultivent en France en pleine terre.
Paris: H.L. Guerin and L.F. Delatour, 1755. 2 volumes, quarto (10 1/4 x 7 3/4 inches). Half-titles.
250 full-page woodcut plates, 4 folding engraved plates, 191 engraved vignettes, woodcut tailpieces.
Contemporary mottled calf, spine with raised bands in six compartments, morocco lettering pieces
in the second and third, the others with a repeat decoration in gilt, marbled endpapers. Provenance:
E.F. Nolte, M.D. (bookplate).
First edition of Duhamel du Monceau’s famous work on trees, illustrated with Mattioli woodcuts.
In alphabetical order, Duhamel’s work covers more than one thousand trees, including Tournefort’s
classification and nomenclature. The illustrations to the work are truly remarkable. “Of the 250 woodcut
plates, 154 ... are printed from the blocks made by Giorgio Liberale and Wolfgang Meyerpeck for the large
illustrations to Mattioli’s herbal [first printed in 1562] ... These designs by Liberale and Meyerpeck, delicately
cut, are among the most outstanding examples of woodcut botanical illustrations ... The exquisite engraved
vignettes, all but one with detailed dissections of flowers or fruits, were made by N. Ozanne and form
attractive beginnings to the plant descriptions” (Raphael). The preface includes an account of the Mattioli
woodblocks, which were eventually sold by Duhamel’s heirs in the mid-20th century. The non-Mattioli
plates are believed to have been drawn from specimens cultivated by the author. “Duhamel’s knowledge of
trees was based on practical experience, for on his estates at Vrigny and Monceau (Loiret) and his brother’s
at Denainvilliers he established botanic gardens for the culture of trees, shrubs and new exotics” (Raphael).
Arnold Arboretum, p. 215; Dunthorne 99; Nissen BBI 547; Pritzel 2469; Sargent & Tucker p.215; Stafleu and Cowan 1544;
Raphael, An Oak Spring Sylva 2.
(#28391) $ 4,500
75 HOLBROOK, John Edwards (1794-1871).
Ichthyology of South Carolina.
Charleston, S.C.: Russell & Jones, 1860. Volume I (all published), quarto (11 1/4 x 9 5/8 inches).
28 hand-coloured lithographed plates by A.J.Ibbetson, August Sonrel and J.Burkhardt, printed by P.
Duval (3) and T. Sinclair (25) of Philadelphia. Expertly bound to style in half dark blue morocco over
period marbled paper covered boards, flat spine in compartments divided by gilt roll tools, lettered
in gilt in the second and fourth compartments, marbled endpapers.
Possibly unique intermediate issue of Holbrook’s “extremely rare and interesting” (Bennett) work on fish.
Holbrook was born in Beaufort, South Carolina, on 30 December 1794, but he spent most of his early life
in Wrentham, Massachusetts, at his father’s family home. After graduating from Brown in 1815, he studied
medicine at the University of Pennsylvania, taking his degree in 1818. Between 1818 and 1822 he continued
his medical studies in London and Edinburgh, and then travelled for two years in Europe, devoting much
time to natural history, especially in Paris. He returned to the United States and in 1822 set up a medical
practice in Charleston, South Carolina. In 1824 he became professor of anatomy at the Medical College of
South Carolina, a position he occupied for over thirty years.
It was as a naturalist, however, that Holbrook made his name. His first major published work, American
Herpetology, or a Description of Reptiles inhabiting the United States (Philadelphia: 1836-1842, 5 volumes),
was widely praised both in the United States and Europe. Through it, he met Louis Agassiz, who became a
lifelong friend: Holbrook visited him annually during his summer trips to New England. He then turned his
attention to fish and began a Southern Ichthyology (New York: 1847) to include descriptions of the fishes of
Georgia, South Carolina, and Florida, but after the publication of two numbers (a total of 60 pages and two
plates), he realised that the field was going to be too extensive and he halted the publication.
He returned to the subject, concentrating his studies on a smaller geographical area and between 1855 and
1857 published the first volume (in ten parts) of the Ichthyology of South Carolina. However a disastrous
fire in the Artists’ Building in Philadelphia destroyed all the plates, stones, and original drawings and he
temporarily abandoned the project. In 1860, the second edition, with the text reworked and all the plates
redrawn, was published. In the preface he writes: “As but few numbers of the [first edition]... were distributed
previous to the destruction of the original plates, &c., and the present edition is so much improved, I have
decided to recall the former numbers, and to replace them by those of the new edition, without expense
to the present holders.” Indeed, the plates in the second edition, done by the lithographer T. Sinclair, of
Philadelphia, differ dramatically from those of the first, both in terms of colouring and anatomical detail.
Unfortunately, once again only the first volume appeared. This time the Civil War intervened and the work
was abandoned - this time for good - as during the war Holbrook’s library and collections were destroyed.
The present example is an intermediate issue between the first and second editions, composed of text and
plates from both editions. The title, preface, and index leaves are from the second edition, as are text pages
1 through 31. However, pages 29 (i.e. duplicate page numbers but varying text) through 182 are text leaves
from the first edition. The remaining pages 183 through 205 are from the second edition. As for the plates,
all but three are from the second edition (4-6 being from the first edition).
Bennett p.56; Meisel III, p.486; Nissen ZBI 1979; Sabin 32452.
(#27880) $ 14,750
76 HOOKER, Sir Joseph Dalton (1817-1911).
Illustrations of Himalayan Plants, chiefly selected from drawings made for the late J.F.Cathcart Esq. of
the Bengal Civil Service.
London: Lovell Reeve, 1855. Folio (20 x 14 3/4 inches). Half-title. 2pp. subscriber’s list. Lithographic
title with hand-coloured botanical border, 24 fine hand-coloured lithographic plates by and after
Walter Hood Fitch from original drawings by native artists and the author. Publisher’s boards with
the lithographed additional title repeated on the upper cover, rebacked to style in quarter black
morocco, spine with raised bands in six compartments, lettered in the second compartment, the
others with a repeat decoration in gilt.
Hooker’s second work on Himalayan plants containing some of the most spectacular work of Walter Hood Fitch,
arguably the greatest botanical artist of the second half of the 19th century: “one of the finest flower books ever
produced” (Jan Lewis).
In the eloquent and evocative introduction to the present work, Hooker writes that he wished the work to
stand as a monument to the botanical contributions of James F. Cathcart (1802-1851). Cathcart, during
the lengthy period when he suffered from ill-health, spent his time assiduously recording the flora of the
Himalayas, and with the help of native artists assembled a series of nearly one thousand drawings of the
plants of the remote region. The original plan had been for Cathcart to have given Hooker £1000 to pay for
“a work similar to the Sikkim-Himalaya Rhododendrons, and to distribute it to the principal botanists and
scientific establishments in Europe.” Having sent his collection of drawings ahead to Hooker, Cathcart died
in Lausanne during his journey back to Britain. The work subsequently appeared in its present form: partly
through subscription (176 names are listed) and partly after Cathcart’s family agreed to honour his promise
of financial support for the work.
The plates were re-drawn and transferred to stone by Fitch who “corrected the stiffness and want of botanical
knowledge displayed by the native artists.” In addition Fitch worked from a number of drawings supplied
by Hooker himself of alpine plants found at greater elevation than Mr. Cathcart was able to visit. In his
introduction, Hooker readily acknowledges the importance of Fitch’s beautiful images “that have been justly
pronounced as of unrivalled excellence in an artistic point of view” and makes the general point that “works
like the present must appeal to the lovers of art and horticulture” in equal measure.
The combined efforts of Hooker, Fitch and Cathcart produced “probably the finest plates of Magnolia
Campbellii and Meconopsis simplicifolia ever made, as well as other important Himalayan plants” (Great
Flower Books).
Great Flower Books (1990) p.101; Jan Lewis Walter Hood Fitch A celebration 1992, p.16; Nissen BBI 910; Stafleu & Cowan TL2
2973.
(#26848) $ 22,000
77 INDIAN School, early 19th century.
An album containing original botanical watercolours of flowering trees, shrubs and plants growing in
India.
[India: circa 1825]. Folio (18 1/2 x 14 inches). 35 pen-and-ink, watercolour and gouache drawings,
heightened with gum arabic, tipped onto 31 leaves within an album, the drawings on wove, laid or
Bristol paper, variously captioned at a period date, some identified using scientific binomials on the
sheet or on small contemporary applied coloured labels, the drawings varying in size from 14 1/2 x
11 to 5 x 7 3/4 inches (but most 11 x 8 inches or larger). Expertly bound to style in half dark green
morocco over red Indian calico cloth covered boards, spine gilt.
An attractive album assembled by a knowledgeable botanist working in India at the time of the great expansion
of knowledge about the natural history of the great sub-continent.
At the time when the unidentified botanist was assembling these drawings, there was a surge of interest in
botany of India, drawing a number of great botanists to the region where they helped establish a tradition
of training and supporting a team of local artists (as seems to have been the case with the present album).
These highly-talented artists, most of whom are now unknown, painted the local flora with a combination
of Mughal aesthetics and western scientific accuracy the fusion of which produced results that are unique to
the time and place.
The so-called father of Indian botany was William Roxburgh (1751-1815), whose posthumously published
Flora Indica (1820-1824) is almost exactly contemporary with the present collection. The second volume
of Roxburgh’s ground-breaking work included contributions from Nathaniel Wallich (1786-1854). He
employed the prodigious talents of the local artists Gorachand and Vishnupersaud to produce the plates
for his masterly Plantae Asiaticae rariores (1830-1832). His brilliant young contemporary Robert Wight
(1796-1872) also used local artists (Rugiah and Goindoo) to paint specimens many of which were used for
his multi-volume Icones Plantarum Indiae Orientalis (1856).
A lovely album of drawings from an important period in the study of Indian botany.
(#25871) $ 12,500
78 KENNEDY, John (d.1790).
A Treatise upon Planting, Gardening, and the Management of the
Hot-House ... The Second Edition, corrected and greatly enlarged.
London: Printed for S. Hooper ... and sold by G. Robinson, 1777. 2
volumes, 8vo (8 x 4 7/8 inches). xii, 280; [4], 279 pp. Contemporary
calf, spine with raised bands in six compartments, ruled in gilt on
either side of each band, red and green morocco lettering pieces
in the second and third compartments. Provenance: Hon. John
Smith-Barry (1725-1784).
A lovely copy of a noted 18th century work on gardening and the
planting of fruit trees.
The author, the gardener to Sir Thomas Gascoigne, to whom the book
is dedicated, writes in the Preface to this expanded second edition
that “his intention in the following sheets is not to deliver himself
systematically, but, in the most explicit manner, to lay before the
Public facts that have been successfully reduced to practice by himself
... he noted that, if his directions are followed, extensive tracts of land
which are now useless, may become ornamental and profitable.” The
work is particularly noted for its treatment on fruit trees and on the
raising of pineapples.
A lovely set, with provenance to the son of the 4th Earl Barrymore, whose seat at Fota House was noted for
its gardens and arboretum.
Henrey II 468; cf. Johnston 530; ESTC N21654
(#28301) $ 1,350
79 KRAFFT, Jean Charles (1764-1833).
Plans des plus béaux jardins pittoresques de France, d’Angleterre et d’Allemagne, et des edifices,
monumens, fabriques, etc. ... Plans of the most beautiful picturesque gardens in France, England and
Germany and of the edifices, monuments, fabrics, etc. which contribute to their embellishment, of every
kind of architecture, such as Chinese, Egyptian, English, Arabian, Moorish, etc. ... Plaene der schoensten
und malerischen Gaerten Franckreichs, Englands, und Deutschlands ... [With:] ... Deuxieme Partie.
Paris: Levrault [vol. 1] and Pougens [vol. 2], 1809-1810. 2 parts in 2 volumes, oblong small folio (10
3/4 x 13 3/4 inches). Text in three columns in French, English and German. [First part:] Engraved
frontispiece and 96 engraved plates, engraved by Boulay, Gossard, Joannee and others. [Second part:]
Engraved frontispiece, 96 engraved plates on 70 sheets (20 folding), engraved by Boulay, Gossard,
Adam and others. Period pink paper-covered boards, black morocco lettering pieces on the spines.
Housed in a dark red morocco backed box.
A rare work depicting the best examples of European garden design and architecture from the early nineteenth
century.
An accomplished draftsman and architect, Jean Charles Krafft was born in Brunnerfield, Germany in 1764
but later emigrated to France and authored several works on architecture and design. The conclusion to the
first part gives an outline of the present work: “I flatter myself I have performed the task I had undertaken
of forming a collection of divers picturesque gardens and of the building which contribute to their
embellishment by the diversity of their construction, their use and decorations. My object in composing this
work was to assist the imagination of those lovers of the arts who take pleasure in forming such agreeable
establishments, in which, as in every object of art, taste requires to be directed by rules. If the art of building
and of beautifying edifices has been improved of late years, the taste for gardens has much encreased, and
that taste has given birth to more novel methods, more pleasing in their design ... But to afford gentlemen
possessed of estates the means of laying down plans for them selves or others to work by, it was necessary
to chalk out the new paths they must follow ... What I offer has been communicated to me by distinguished
artists; it is the fruit of their compositions on picturesque gardens since the revival of the art in the 19th
century...”
The first series was published in 12 parts, each containing two sheets of letterpress explanation and eight
engraved plates; upon completion of the final part, a second series was promised as “a sequel containing
the general plans, and points of view of the principal picturesque gardens in France and foreign countries”
(preface, second part). The text describes the location, owner and architect of each garden depicted. As the
title suggests, the designs include wonderful examples of chinoiserie, Egyptian revival and neo-classicism,
among other styles.
The work is scarce, and rarely found complete with both parts.
Berlin Kat. 3312a; Brunet III:694; Graesse IV:46.
(#28396) $ 7,500
80 LAMBERT, Aylmer Bourke (1761-1842).
A Description of the Genus Pinus, with directions relative to the cultivation, and remarks on the uses
of the several species: also descriptions of many other new species of the family Coniferae ... To which
is added an appendix containing descriptions and figures of some other remarkable plants, and an
account of the Lambertian herbarium.
London: George White [vols. 1-2]; H. Weddell [vol. 3], 1837-1837-1837 (vol. 1 title page watermarked
1838). 3 volumes, folio (25 3/4 x 19 1/4 inches). Engraved portrait frontispiece of Lambert, 103
plates (comprising 2 double-page uncoloured engraved plates [vol.II, Appendix nos. 7 and 8], 101
very fine fully hand coloured plates: engravings or lithographs, mostly watercolour over thin etched
line and several entirely in watercolour), the engravings by Barlow, Mackenzie, Smith, Warner and
Weddell after Bauer, Ehret, Manz, Smith and Sowerby, a few plates lithographed by G. Scharf, one
after J. Lycett. Contemporary dark green morocco gilt by J. MacKenzie, covers with wide gilt borders,
spines with raised bands in eight compartments, red morocco lettering pieces in the second and
third, the others with a repeat overall decoration in gilt, gilt turn-ins, marbled endpapers, gilt edges.
Provenance: George Dunn (booklabel); George Dupont Pratt (bookplate).
The best and most complete edition of Lambert’s masterpiece: an important scientific monograph and an artistic
triumph with spectacular plates after Ferdinand Bauer. This copy in a spectacular contemporary binding.
This rare work is rightly acclaimed for its beauty, but also for the fact that each copy is unique, containing
varying numbers of plates as well as original watercolours. Henrey notes that “in each edition there are great
variations in the contents among different copies.” The present copy is no exception, though appears to
be similar to the copy in the Natural History Museum library in London (described by Henrey under her
number 924).
In the present copy, there are plates with at least some printed outline, together with pure watercolours with
no printed base. There are a number of the plates which have details added in watercolour, and several that
have outlines so faint that they give the appearance of being executed entirely in watercolour.
The majority of the plates are after Ferdinand Bauer, who with his brother Franz “may well claim to be the
greatest of all botanical draughtsmen. Their skill in execution of detail is miraculous, yet they never lost sight
of the wood for the trees; everything is understood, balanced, controlled ... The splendid illustrations to [the
present work] ... deeply impressed Goethe ... The botanical draughtsman was no longer the mere recorder of
floral beauty; he now had the more difficult task of serving both Art and Science” (Great Flower Books, p.37).
The earliest edition of Lambert’s important monograph, though with the fewest number of plates, was
published in two volumes between 1803 and 1824. It then appeared in various formats with varying numbers
of plates, including the second edition, until the Bohn issue of 1842. The present copy should perhaps be
considered as a variant issue of the second edition. This edition is in many ways the most desirable, as the
addition of the third volume provides the full complement of plates, but with the significant advantage of the
original watercolours.
Great Flower Books (1990) p.111; cf. Henrey III, 922 and 924; cf. H.W. Renkema & J. Ardagh ‘Aylmer Bourke Lambert and his
“Description of the genus Pinus”’ in Journal Linnaean Society London, Botany (1930) vol.48, pp.439-466; Stafleu & Cowan II,
4145; cf. De Belder sale lot 201.
(#25677) $ 78,000
81 MONNOYER, Jean Baptiste (1636-1699).
[Album of 17 engraved plates of bouquets of flowers in vases, baskets or garlands from:] [Livre de toutes
sortes de fleurs d’après nature].
[Paris]: N. de Poilly, [1670-1680]. Broadsheets. 17 engraved plates by and after Monnoyer, second
states (of III), each corner mounted into the album. Sheet sizes vary between 20 1/4 x 16 1/4 inches
to 21 1/4 x 17 3/4 inches. (Some expert restoration at the sheet edges). Expertly bound to style in half
eighteenth century russia over eighteenth century marbled paper covered boards, spine gilt.
A significant selection from Monnoyer’s very rare 17th century series of floral still life engravings.
The present plates comprise images from four of Monnoyer’s very rare suites:
1) Livres de Plusieurs Varie de Fleurs faicts d’Apres le Naturel: Engraved title with dedication to Le Brun and
8 plates depicting bouquets in vases [complete]
2) Livres de Plusieurs Corbeilles de Fleurs: 3 engraved plates, with the title engraved on the first [complete]
3) Livres de Plusieurs Paniers de Fleurs:4 engraved plates, with the title engraved on the first [complete].
4) Guirlande de Fleurs: 1 engraved plate (of 2), with the title engraved onto the plate.
Dunthorne details each of the 12 separate suites by Monnoyer. The present selection includes three complete
suites (identified by Dunthorne as Vases of Flowers, Large Upright Baskets of Flowers and Arrangements
in Baskets), as well as the first of two images from the Garlands of Flowers series. The plates present here
are Dunthorne’s second state (of three), with the artist identified only as Jean Baptiste, with the address of
Pouilly and with the privilege line.
Born in Lille in 1636, Monnoyer first studied in Antwerp as a student of Davidsz de Heem, before going to Paris
where he rapidly established his reputation and set a style of decorative flower painting for the adornment
of great French residences. In 1665 he was accepted as a member of the Academy; in 1673 he exhibited four
paintings at the Salon. Patronized by Le Brun, Louis XIV’s Minister of Arts, Jean Baptiste Monnoyer was
employed to decorate the royal palaces at Versailles, Saint Cloud, Vincennes, le Grand Trianon, Meudon and
Marly. He also designed floral motifs and borders for the Gobelins and Beauvais tapestry works. In 1678 the
Duke of Montagu, British Ambassador to Louis XIV, persuaded Monnoyer to accompany him to England,
where he won immediate acclaim, painting flowerpieces and still lifes to adorn the homes of the aristocracy.
His works decorated Boughton, Montagu House (now the site of the British Museum), Windsor Castle,
Kensington Palace and Hampton Court; his patrons included Queen Anne, Mary II, the Duke of St. Albans
and the Earl of Carlisle.
These suites are very rare, with most extant sets broken and colored for the print market. A similar bound
collection, containing 25 engravings from four different suites, is located in the Rijks Museum (object
number RP-P-2011-65).
Dunthorne 212; cf. Nissen BBI 1399; cf. Paviere, Jean Baptiste Monnoyer (Leigh-on-Sea, 1966).
(#25192) $ 32,500
82 PETIT, Victor.
Parcs et Jardins des Environs de Paris.
Paris: Monrocq Frères, [circa 1850]. Small folio (13 3/8 x 10 1/4 inches). [8]pp. 50 colour lithographs.
Expertly bound to style in half brown morocco over original pebbled cloth covered boards, upper
cover lettered in gilt, brown endpapers, gilt edges. Provenance: Henry C. Gibson (signature).
Beautifully-illustrated French work on garden design.
This charming collection of color plate designs for garden plans, include many in the English style with
curving walks and lakes and others in the strictly formal and geometrical French style. Victor Petit was
an artist and chromolithographer who worked in Paris and northern France during the 19th century who
published several works on the subject. His interest and focus was on garden designs that would appeal to
the bourgeois families who needed landscaping advice. These lovely chromolithographs are mostly bird’s eye
proposals or plans for small properties with various garden structures. The properties range from one sixth
of an acre to more than seven and a half acres. The plans contain oval pathways, geometrical flowerbeds,
plus some fruit and vegetable gardens as well. They also offer suggestions for parterres, belvederes, bridges,
glasshouses, and birdcages. Scarce complete with the preliminary text leaves which describe each plate.
(#28243) $ 3,850
83 POMOLOGY
& HORTICULTURE. - Dellon
Marcus DEWEY (1819-1889, publisher).
The Specimen Book of Fruits, Flowers and
Ornamental Trees Carefully Drawn and Colored
from Nature for the Use of Nurserymen.
Rochester: D. M. Dewey, [circa 1870]. 4to (11
x 8 1/2 inches). Chromolithographed title, 49
colour pochoir or chromolithographed plates
by Dewey. Expertly bound to style in half
morocco over period cloth covered boards,
upper cover stamped in gilt. Provenance: A. W.
Ward, Loudon, TN.
A fine early example of a rare large-format Dewey
nurseryman’s sample book, with the majority of the
plates being the early hand-finished stencils which he
pioneered.
This album, with large format plates, is similar to
the album in the Mellon collection described by
Sandra Raphael (Oak Spring Pomona 64), The
colouring of the fruits and flowers is particularly
strong. The album includes: 20 kinds of apples, 11
pear, 10 peach, 3 plum, 3 grape, 1 strawberries and
a plate devoted to garden design. All of the plates have the imprint, “D.M. Dewey’s Series. Colored From
Nature. American Fruits and Flowers.”
Dellon Marcus Dewey “developed and promoted the nurseryman’s color plate business in the late 1850s ...
Besides individual plates, he also carried a selection of ready-made plate books. In the mid-1870s, Dewey
disposed of his bookstore to concentrate entirely upon color plates and other supplies for nurserymen. An
1881 volume on the industries of Rochester termed his a unique enterprise ... His premises in the Reynolds
Arcade were “spacious and convenient, and here not less than thirty artists and others are employed in
making drawings, paintings, etchings, photographs”’ (K.S. Kabelac ‘Nineteenth Century Rochester Fruit and
Flower Plates’ in The University of Rochester Library Bulletin (1982), vol .XXXV. p.97).
“The earliest plates were simple watercolours, but later, as the demand grew, the technique of theorem
paintings coloured with the help of stencils was used to multiply the number of copies as quickly and cheaply as
possible. Later still, engraved or lithographed outlines were coloured by hand, and finally chromolithographs
printed in colour began to replace more laborious procedures, though some of these were finished by hand
too” (Oak Spring Pomona p.170).
This early version of a Dewey sample book is in a rare quarto format; such seedsman’s books are usually
smaller octavo albums.
(#27908) $ 2,850
84 ROTHSCHILD, Lionel Walter, Baron (1868-1937).
Extinct Birds: An attempt to unite in one volume a short account of those birds that have become extinct
in historical times - that is, within the last six or seven hundred years. To which are added a few which
still exist, but are on the verge of extinction.
London: Hutchinson, 1907. Quarto (14 1/2 x 11 inches). 49 plates (comprising 45 coloured collotype
plates after J.G. Keulemans, G.E. Lodge, H. Grönvald, J. Smit and F.W. Frohawk, 4 uncoloured
plates). Expertly bound to style in dark red half morocco over period red cloth boards, spine in six
compartments with raised bands, the bands flanked by gilt fillets, lettered in gilt in the second and
third compartments, the others with repeat decoration in gilt, marbled endpapers, top edge gilt.
An important and rare work attempting to document and picture all the most recently extinct birds.
Limited edition of 300 copies, this copy out of series, unnumbered and unsigned. A fascinating work, the
author rightly notes in his introduction that the “study of the forms of life no longer existing on the earth ...
has provoked a very great interest almost from the commencement of historical time” (Introduction). The
work (“the highest authority on the subject” [Wood]) stands as a warning against man’s destructive capacity.
The author divided the extinct species into two categories: “those known externally as well as internally, and
those of which we know bones and egg-shells only.” The available information on the former varies from
very full literature on some to partial and unreliable information provided by “old writers” whose main
interest was limited to “the culinary properties of the various birds.” Rothschild goes on to identify various
causes for the destruction of the species: the need for food, sport, the introduction of animals of prey and
new diseases, and the destruction of their habitat. He concludes that “man and his satellites, cats, rats, dogs,
and pigs are the worst and in fact the only important agents of destruction of the native avifaunas wherever
they go.” Zimmer notes that the plates are excellent and are after many of the greatest ornithological artists
working in Great Britain at the time: J.G. Keulemans, G.E. Lodge, H. Grönvald, J. Smit and F.W. Frohawk.
Anker 430; Nissen IVB 795; Errol Fuller Extinct Birds (2001) p.391; Wood p.543; Zimmer p.533.
(#28641) $ 8,500
85 SINCLAIR, Isabella (1842-1900).
Indigenous Flowers of the Hawaiian Islands: Forty-Four Plates Painted in Water-Colours and Described
by Mrs. Francis Sinclair, Jr.
London: Sampson Low, Marston, Searle, and Rivington, 1885. Small folio (14 1/8 x 10 1/8 inches).
Guarded throughout. [12]pp. 44 chromolithographed plates, printed by Leighton Brothers, each
with accompanying text leaf. Later green crushed morocco, covers elaborately panelled in gilt,
expertly rebacked to style.
First edition of “One of the most prized of Hawaiian books among collectors” (Forbes).
In the preface, the author writes: “The following collection of flowers was made upon the islands of Kauai and
Niihau, the most northern of the Hawaiian archipelago. It is not by any means a large collection, considering
that the flowering plants of the islands are said by naturalists to exceed four hundred varieties. But this
enumeration was made some years ago, and it is probable that many plants have become extinct since then.”
Her wonderfully illustrated work would be the first book dedicated to Hawaiian flora to be illustrated in
colour.
Isabella Sinclair (nee McHutcheson), was born in Scotland in 1840, married her cousin Frank Sinclair
in 1863 and moved to Hawaii that year. Having studied botany in New Zealand, Sinclair began painting
watercolors of the Hawaiian flora, carefully identifying each specimen with its botanical name as provided
by Joseph Hooker, along with its natural habitat, its native name and other information.
As Forbes notes, the work was an early example of a perfect binding and as such copies tend to be found
loose in their bindings with subsequent damage to the plates and leaves. This example beautifully bound
and in very fine condition internally.
Stafleu TL2 12.024; Forbes 3736; Nissen 1848; Great Flower Books p. 76.
(#26155) $ 8,000
86 SOWERBY, James (1757-1822).
British Mineraology: or Coloured Figures intended to elucidate the Mineralogy of Great Britain.
London: Printed by R. Taylor and Co. ... and sold by the Author ... and by White and Co. ..., 1804[1817]. 5 volumes, octavo (9 x 5 1/2 inches). 550 hand coloured engraved plates. Systematic and
alphabetical indicies in rear of vol. 5. Expertly bound to style in half dark blue straight grained
morocco over period marbled paper covered boards, spines with raised bands in six compartments,
lettered in the second and fourth, the others with a repeat decoration in gilt, marbled endpapers.
“The importance of British Mineralogy in its time cannot be overstated. Today it is still considered the supreme
work of British topographical mineralogy. It is certainly the most ambitious colorplate work on minerals ever
published” (Conklin).
Sowerby’s British Mineralogy “contains the largest number of plates and some of the finest examples of
hand-colored mineral illustration ever produced. During the years of its publication the mines of England
were producing ores from some of the most richly mineralized deposits yet discovered; subsequently, many
notable mineral specimens, including several unsurpassed examples of some species, were discovered and
preserved. Sowerby sought out these unusually fine specimens and together with more typical examples,
described and illustrated them in British Mineralogy, thereby creating an illustrated collector’s compendium
of the minerals of Great Britain that has never been superceded” (Schuh).
Interestingly, an early owner of this set has re-ordered the entire work based on Sowerby’s Linnean-style,
binomial Latin classification, using the systematic index from volume 5, rather than the order as issued. The
work, however, is complete with all plates, as well as the preface and preliminary leaves to vols. 1 and 5, as
well as both the systematic and alphabetic indices in the rear of vol. 5 (without the volume indices, as usual).
Conklin, “James Sowerby: His Publications and Collections” in Mineralogical Record, vol. 26 (July-August 1995); Schuh 4475;
Ward & Carozzi, Geology Emerging, 2090.
(#28351) $ 28,500
87 STEARNS, Samuel (1747-1819).
The American Herbal, or Materia Medica. Wherein the virtues of the mineral, vegetable, and animal
productions of North and South America are laid open, so far as they are known; and their uses in the
practice of physic and surgery exhibited.
Walpole: Printed by David Carlisle, for Thomas & Thomas, and the Author, 1801. 12mo (6 7/8 x 4
1/8 inches). 360pp. (Minor browning and staining). Contemporary sheep, expertly rebacked to style,
spine in compartments with gilt fillets, black morocco label in the second compartment.
A rare early American work of medical botany and “the first herbal both produced and printed in the United
States” (Norman).
Stearns was an important early American botanist, physician, and astronomer. He practiced medicine first in
Worcester, then in New York, and finally in Brattleboro, Vermont. He published the first American nautical
almanac in 1782 and was editor of the Philadelphia Magazine. Norman describes the present work as the
“first herbal both produced and printed in the United States.” Interestingly, the work includes information
on Native American remedies.
Shaw & Shoemaker 1352; Austin 1818; Stafleu & Cowan 12843; Sabin 90959; Norman 2008; Howes S911; Johnston 669; Atwater
3328.
(#24863) $ 2,750
88 WHITE, Gilbert (1720-1793).
The Natural History and Antiquities of Selbourne,
in the County of Southampton.
London: printed by T. Bensley for B.White and
Son, 1789. Quarto (10 x 7 3/8 inches). Two
letterpress section titles with engraved vignettes,
7 engraved plates (two folding). Errata leaf in
the rear. Contemporary half red morocco over
marbled paper covered boards, flat spine divided
into compartments with gilt double fillets, lettered
in the second compartment, marbled endpapers.
Modern slipcase. Provenance: Henry Atkinson
(armorial bookplate).
A fine copy of one of the great classics in the English
language, a work which elevated natural history into
the region of literature.
The Rev. “Gilbert White’s daily life was practically
unbroken by any great changes or incidents; for
nearly half a century his pastoral duties, his watchful country walks, the assiduous care of his garden, and
the scrupulous posting of his calendar of observations made up the essentials of a full and delightful life”
(Encyclopaedia Britannica). White’s genius was his skill at describing what he observed. For many years,
through a network of distinguished correspondents, he was happy to provide information that others made
use of. But in 1771, following a suggestion of the naturalist Daines Barrington, he announced to Thomas
Pennant his intention of producing “a natural history of my native parish, an annus historico-naturalis,
comprising a journal for a whole year, and illustrated with large notes and observations.”
It is not a typical parish history of the period, consisting of “batches of letters, an essay on antiquities, a
naturalist’s calendar and miscellaneous jottings of all kinds ... Yet it is largely to this very piecemeal character
that its popularity has been due. The style has the simple, yet fresh and graphic, directness of all good letterwriting, and there is no lack of passages of keen observation, and even shrewd interpretation ... The book
is also interesting as having appeared on the borderland between the medieval and the modern school of
natural history, avoiding the uncritical blunderings of the old Encyclopaedists, without entering on the
technical and analytic character of the opening age of separate monographs. Moreover, it is the first book
which raised natural history into the region of literature, much as the Compleat Angler did for that gentle
art, we must affiliate to it the ... products of later writers like Thoreau or Richard Jefferies. Yet, while these
are essential merits of the book, its endearing charm lies deeper, in the sweet and kindly personality of the
author, who in his rambles gathers no spoil, but watches the birds and field-mice without disturbing them
from their nests, and quietly plants an acorn where he thinks an oak is wanted, or sows beech-nuts in what
is now a stately row. He overflows with anecdotes, seldom indeed goes beyond the anecdotal stage, yet
from this all study of nature must begin; and he sees everywhere intelligence and beauty, love and sociality”
(Encyclopaedia Britannica).
Grolier/English 62; Martin p.90; Rothschild 2550.
(#28325) $ 4,250
89 WILSON, Alexander (1766-1813); and Charles Lucian BONAPARTE (1803-1857).
American Ornithology; or, the Natural History of the Birds of the United States ... with a continuation
by Charles Lucian Bonaparte ... the illustrative notes, and the life of Wilson, by Sir William Jardine.
London & Edinburgh: Whittaker, Treacher & Arnot and Stirling & Kenney, 1832. 3 volumes,
octavo (8 1/2 x 5 3/8 inches). Finely hand-coloured engraved portrait, 97 hand-coloured engraved
plates by W.H. Lizars after Wilson and others, including one plate with a figure by J.J. Audubon,
2 wood-engraved illustrations in the text. (Minor foxing). Contemporary red morocco gilt by J.
Wright, covers richly tooled with floral and ornithological motifs in gilt, spine with raised bands in
six compartments, red morocco lettering pieces in the second and third compartments, the others
richly tooled with a repeat pattern in gilt, gilt turn-ins, gilt edges. Provenance: Henry Bohn (signed
inscription on front endpaper, see note below).
An extraordinary set of the first Jardine edition of Wilson’s Ornithology, elaborately bound and very finely hand
coloured: one of six such examples of a deluxe edition.
Alexander Wilson was the first ornithologist to undertake a systematic study of the birds of America. Wilson,
who was born in Scotland, turned to the study of American ornithology full time in 1802 under the tutelage
of William Bartram. At the time of the appearance of the first part of his grand work in 1807, no similar
study in any branch of natural science had yet been undertaken in America, and only one colour-plate
book of any scope had been published in the infant nation (Birch’s Views of Philadelphia). Between 1808
and 1813 Wilson managed, after overcoming innumerable difficulties, to travel over much of the United
States collecting material whilst also managing his ambitious publication. He died in 1813, exhausted by
his task, and the final parts of the first edition of his work were eventually seen through the press by his
friend George Ord. After the defeat of Napoleon, various members of the Bonaparte family took refuge in
America, including his nephew, Prince Charles Lucian Bonaparte. The young Bonaparte proved to be an
ornithological prodigy, and undertook the writing of a supplement to Wilson, which was completed in 1833.
The contemporary importance of Wilson’s work can be judged by the fact that the present edition -- edited
and with a biography of Wilson by famed ornithologist Sir William Jardine -- was published the year before
the appearance of the final volume of the Bonaparte supplement. This first Jardine edition contains all of
Wilson’s work and the first three volumes of Bonaparte’s continuation, with all plates re-engraved to scale by
Lizars. “This is by far the best edition of the American Ornithology, both on account of the beautiful plates
and the most interesting notes of the editor” (Neville Wood, quoted in Allibone, A Critical Dictionary of
English Literature).
The present set is an extraordinarily rare issue, one of six copies with more highly finished hand colouring
and elaborately bound by Wright. Frank L. Burns, in his bibliography of Wilson, describes such sets as
an “Edition de lux” which “consisted of ‘six sets only, for presentation, have the portrait and backgrounds
colored, and the 97 plates generally finished in a superior manner with great care and brilliancy of coloring.’
A copy bound in smooth green morocco, extra full gilt backs, broad dentelle borders of gold or sides, edges
marbled and gilt, was recently offered from the Seebohm library collection for £9. 9s.” We could locate
another (or possibly the same) example sold at the Harmsworth sale in 1953 for £22.
The inscriptions in the present example support Burns’ claim. Famed 19th century bookseller and publisher
Henry Bohn has inscribed the front endpaper: “This edition though apparently published by Whittaker &
Co. became my property, and the present coloured copy was superintended by me.” A further pencil note
appears above Bohn’s description: “Mr. Henry Bohn had only 6 copies coloured in this most beautiful and
superior style.”
The colouring is indeed far more accomplished than the regular edition, with richer colours and more gum
arabic, and with the significant advantage of having the backgrounds of most plates coloured in delicate
washes. Furthermore, the handsome frontispiece portrait, usually found uncoloured, is here coloured and
highly finished with gum arabic. In addition, the signed binding is a superb example of a 19th-century
presentation binding produced by a British masterbinder with tools cut expressly for this work.
The rarest and most beautiful edition of an American ornithological classic.
Anker 534; Nissen IVB 996; Wood p.630; Zimmer 693; Frank L. Burns, “Alexander Wilson. [Part] VII: Biographies, Portraits,
and a Bibliography of the Various Editions of his Works”, copy ‘g’, in The Wilson Bulletin, Vol. XXI, No. 4 (December, 1909),
p.181.
(#28744) $ 15,000
MISCELLANY
90 [BRASS FOUNDRY PATTERN BOOK, English 19th century].
[Early English trade catalogue of brass furniture hardware designs].
[Birmingham: circa 1815]. Oblong 4to (7 1/4 x 11 3/4 inches). 310 engraved plates on 163 leaves
(all but 16 printed on both sides, 10 folding), one plate signed Radclyffe (almost certainly the
Birmingham engraver William Radclyffe, 1783-1855), the other engravers unidentified, printed on
wove paper with occasional watermarked dates between 1812 and 1815. Each item with an engraved
stock number and manuscript price in ink. Contemporary half calf over marbled paper covered
boards, paper label on the upper cover with manuscript numerical notation.
A rarely encountered pattern book or trade catalogue of early 19th century English brass furniture hardware: a
wonderful example with more plates than any we have previously encountered.
By 1770, over thirty different brass foundries operated in Birmingham, England, making it the epicenter
of furniture hardware design at the height of mid-Georgian and English rococo style. At roughly the same
period, trade catalogues, like the present, began to be issued by both furniture and hardware makers alike.
As with most of the brass foundry trade catalogues of this early period, the name of the foundry issuing the
catalogue is not identified. It is believed that as most hardware was sold by middlemen, or agents which
could have represented multiple foundries, that such books were largely bespoke and likely contained
hardware from multiple foundries; furthermore, as the patterns were widely copied, it is believed that the
same engraved plates were used by multiple makers; some have suggested that the agents selling the designs
to prospective buyers would have removed such references to obscure the identity of their supplier. As with
most such extant books, the plates are annotated at a period date with pricing for each piece.
This is among the most comprehensive pattern books that we have ever encountered. Besides the usual array
of drawer pulls, hooks, knockers and casters, this catalogue includes lamps, candlesticks and wall-sconces,
wax taper stands, escutcheons, locks, caddee pendants, miniature table cannon, fishing reels, cow-horn tips,
glass supports, bed caps and bed post ferrules,clock case ornaments and balls, dish warmers, pulley wheels,
curtain rods, thumb latches, bell cranks, levers and rings, chimney or jamb-hooks, cast and stamped door
or finger plates, hinges, capitals and bases for clocks, tongs, a tinderbox, coffin handle and bottle jack crane,
fender footmen, boot heels, nut-crackers, and more.
Interestingly, at least three of the plates show designs evidently intended for an American market: a framed
medal bearing the likeness of Washington or Jefferson (the illustration within the book being portraits of
Charles James Fox and Admiral Nelson, but with a note offering the frames “with the Head of Nelson, Pitt,
Fox, Washington, Jefferson or Bonaparte”); a clock ball design bearing a circular portrait of Washington
surmounted by a large American eagle; and a fingerplate decorated with an American eagle with the motto
E Pluribus Unum and with the shield design from the seal of the United States.
Such pattern books “illustrate the beginning of what was then a new movement in the conditions of the
crafts, namely, the growth of the organised factory as a means of production and distribution, as compared
with the earlier limitation of these functions to the efforts of individuals” (Young).
Cf. Hummel, Charles F. “Samuel Rowland Fishers Catalogue of English Hardware.” Winterthur Portfolio, Vol 1 (1964): 188-197;
cf. Symonds, R. W. “An Eighteenth-Century English Brassfounders Catalogue.” Magazine Antiques (Feb. 1931): 102-105; Young,
W. A., comp. Old English pattern books of the metal trades: a descriptive catalogue of the collection in the V&A Museum. London:
HMSO, 1913.
(#28288) $ 22,500
91 BURMESE MANUSCRIPT.
Kammavaca.
[Burma: 19th century]. 16 leaves (5 x 22 3/16 inches), each lacquered in red with elaborate overall
decoration in gilt, 14 leaves with lines of black/dark brown lacquer text in square script (known as
‘magyi-zi) recto and verso, two leaves with text on one side only, the other with an overall decoration
in gilt. Unbound as issued between a pair of red lacquered teak boards, gilt decoration on outer
surfaces, inlaid with glass mosaic decoration, Housed within a modern dark red morocco-backed
box.
A fine 19th-century Burmese Kammavaca.
The Kammavaca is a Pali term describing verses from the Tipitaka that relate to rituals of monastic life and
ordination. It is considered to be one of the most sacred of Burmese religious texts often commissioned
by lay-people as works of merit when a son entered a Buddhist monastery. “Kammavaca are volumes of
one, five, or nine extracts from the Theravadin Vinaya, each relating to specific ceremonies associated with
monks. Noel F. Singer writes that the earliest kammavaca consisted of folios made of plain palm leaves, each
of which had four lines of square-inked script on a gold or silver background.” (“Kammavaca Texts: Their
Covers and Binding Ribbons,” Arts of Asia, 23, May-June 1993).
“In the 17th century, folios began to be made of pieces of cloth coated with lacquer and painted with cinnabar,
and the square letters were written in thick, black lacquer. On rare occasions, folios were of ivory. Designs
in gilt, which had been reserved for the ends of folios, end papers, and wooden coverboards, now began to
appear between the lines of text. By the end of the 19th century, the lines of script on the folio increased to
six or seven and sheets of brass or copper were introduced as folios” (John Falconer, and others, Myanmar
Style Art, Architecture and Design of Burma, Hong Kong, 1998, p. 177).
(#28196) $ 4,850
92 CHAUCER, Geoffrey (1340?-1400); - Thomas SPEGHT (d. 1621).
The Workes of our Ancient learned English Poet ... newly Printed.
London: Adam Islip, 1602. Small folio bound in sixes (12 5/8 x 8 inches). Black letter, Gothic type,
text in two columns. Title within woodcut border, copperplate progeny leaf incorporating portrait of
the author, woodcut arms, woodcut of the Knight at head of text. Errata leaf in rear. Mid-eighteenth
century half calf over marbled paper covered boards, spine with raised bands in seven compartments,
red morocco lettering piece in the second compartment, the others with an overall repeat decoration
in gilt. Housed in a full dark blue morocco box.
The second Speght edition of Chaucer: a cornerstone of English literature, here complete with portrait and errata
leaf and in a lovely early binding.
The last of the early editions of Chaucer, the second folio edition edited by Speght was arguably the best
edition published in its time. “With a period of influence stretching from the late sixteenth century to the late
eighteenth, Speght’s Chaucer has been the most durable of any Chaucer edition” (ODNB).
Edited by schoolmaster Thomas Speght (d. 1621), Speght’s extensive apparatus and glossary were by far the
most elaborate of its time. This is the second edition edited by Speght, the first having been issued four years
earlier in 1598. Two issues, with variant publishers, exist, but there is no priority as regards the setting of
Islip or Bishop’s name in the imprint. The engraved frontispiece shows an elaborate genealogy, “The Progenie
of Geffrey Chaucer,” and at center a full-length portrait of Chaucer. “This edition was considerably revised
mainly with the aid of Francis Thynne. It is the earliest in which thorough punctuation was attempted, and
in many ways was a distinct improvement upon Speght’s first edition” (Pforzheimer).
Pforzheimer 178; Grolier, Langland to Prior I:44; STC 5080.
(#28334) $ 11,000
93 [CHETHAM, James (1640-1692)].
The Angler’s Vade Mecum; or, A Compendious yet full Discourse of Angling discovering the aptest
Methods and Ways, exactest Rules, properest Baits, and choicest Experiments for the catching of all
manner of fresh water Fish.
London: Printed for Tho. Bassett, 1681. 8vo (5 3/4 x 3 1/4 inches). Title ruled in black, historiated
initial. [8], 166, [12]pp. Later mottled calf, covers bordered with a blind triple fillet, flat spine divided
into compartments in blind, original morocco lettering piece in the second compartment. Housed in
a morocco slipcase. Provenance: J. Wright (signature and inscription dated 1723 on front endpaper).
Very rare first edition first issue of among the best early works on fly-fishing and fly-tying: a classic work on the
sport.
Published anonymously, Chetham notes in the preface: “The author hath forborne to affix his name; not
that he is ashamed to own it, but wishes the reader to regard things, more than empty names.” Westwood
comments favourably: “Chethams prefaces are in Diogenes vein, curt and caustic; he escapes from the
category of manual makers, and takes rank as one of the original writers on the sport. He is indebted, indeed,
to his forerunners, but acknowledges it; he improves on their systems, and calls attention to the fact. He is
never servile, nor plagiaristic, always honest, sometimes a little surly” (Westwood & Satchell). G.E.M. Skues
wrote of this book “... a really brilliant piece of work... a sheer delight to read, from the preface on, not only
for its caustic irony, but for the invaluable common sense which it displays.” Chetham is noted as the earliest
author to record fishing for individual fish and among the earliest to describe double hooks.
Two editions appeared in 1681, with variant imprints. Wing gives priority to this, the Basset imprint.
Wing C-3788; Westwood and Satchell pp. 59-60; Heckscher 447; Lowndes p. 404; Litchfield 2; Sherwin 115.
(#28394) $ 3,400
94 [CHRISTMAS CARD] - Henry COLE (1808-1882) and John Calcott HORSLEY (1817-1903).
A Merry Christmas and a Happy New Year to You.
London: [Joseph Cundall for] Summerly’s Home Treasury Office, [1843]. Hand-coloured
lithographed card, accomplished in manuscript “My very dear Father & Mother ... Their loving son,
Joe.” Sheet size: 3 3/16 x 5 1/16 inches.
[With:] A proof impression of the above, printed in sepia on card stock, inscribed by Henry Cole to
Mr. and Mrs G. Wallis. [London: 1843, inscribed by Cole in 1865]. Sheet size: 4 5/8 x 6 1/2 inches.
The two cards housed together in a linen passe-partout folding chemise, within a linen folding box,
with a red morocco label on the upper cover. Provenance: Jock Elliott (sale, Sotheby’s New York, 12
December 2006, lot 110).
The first Christmas card, along with a proof of the card inscribed by Henry Cole.
“While Germany can claim credit for the custom of the Christmas tree, the prize for the first Christmas card
goes to England” (Elliott, Inventing Christmas, p. 85).
By the nineteenth century, “all-purpose” cards were widely available. The sender could fill in the name of
the recipient, the occasion, a short greeting, and signature. Henry Cole took the idea one length further by
commissioning artist John Calcott Horsley to create an appropriately festive image on a card and inserted a
banner with the greeting “A Merry Christmas and a Happy New Year to You.” Horsley devised a family party
of adults lifting a glass of good cheer to the recipient of the card in the center panel, flanking it with images of
Christmas charity (feeding and clothing the poor). There is a line at the top in which to insert the recipient’s
name and another at the bottom which the sender could sign.
In his memoirs, Henry Cole erroneously stated that the first cards were printed in 1846, but the matter
was settled when three of the original cards, signed by the artist and dated 1843 surfaced. One thousand
cards were printed, hand-colored, and sold at the extravagant price of a shilling a card. According to Rowe’s
census, only 21 cards are extant, including the present fine example from the Elliott Collection. The present
Christmas card is inscribed “My very dear Father & Mother” and signed “Joe.” It has been speculated that
“Joe” is Joseph Cundall.
The image of the merry tipplers (one of them a child, the other three children are tucking into a plum
pudding) occasioned disapproval from the temperance league who feared the card would encourage
drunkenness. In spite of its ingenuity, the first Christmas card was not an instant success, and a new card
would not be designed for another five years by W. M. Egley. The custom of sending Christmas cards took
off in the 1860s with the advent of the less expensive process of color printing.
Present here is also a very rare proof impression of the card -- one of only five known to exist according to
Rowe’s census. Cole kept proofs as souvenirs of his inventiveness. In 1865 he gave several away, including
one to his daughter Henrietta (that proof is believed to be in the Victoria and Albert Museum collection).
The present proof is inscribed to Mr. and Mrs. George Wallis. George Wallis later became head of the
Victoria and Albert Museum, of which Cole was a founder.
Grolier/Elliott 42; Elliott, Inventing Christmas, pp.8587; Buday, The History of the Christmas Card, pp. 618; Kenneth Rowe, The
Ephemerist (December 1997), p. 713 (identifying the present proof).
(#26982) $ 18,500
95 DANTE ALIGHIERI - Sofia GIACOMELI, illustrator [pseudonym for Madame CHOMEL].
La Divinia Comedia di Dante Alighieri: cioe` l’Inferno, il Purgatorio, ed il Paradiso. Composta ed incisa
da Sofia Giacomelli.
Paris: Salmon, [1813]. 3 parts in one, small 4to (10 3/4 x 8 inches). 100 engraved plates [i.e., engraved
title with portrait, 34 plates illustrating scenes from Inferno, 33 plates from Purgatorio and 32 plates
from Paradasio], each a line engraving with text below the image. Silk dividers between each part.
Contemporary French green morocco, covers bordered in gilt, flat spine in six compartments divided
by gilt roll tools, lettered in the second compartment, the others with a repeat decoration in gilt, silk
endpapers, gilt edges. Provenance: G. I. Paprikoff (bookplate).
A scarce graphic representation of Dante’s masterpiece, here in a lovely contemporary morocco binding.
The line engravings are accomplished by a Madame Chomel, under the pseudonym Sofia Giacomelli,
evidently a French amateur artist of some skill with a strong understanding of Dante.
Mambelli 332.
(#28575) $ 1,250
96 HUNTER, Dard (1883-1966).
Papermaking by Hand in America.
Chillicothe, OH: Mountain House Press, 1950. Folio (16 1/2 x 11 1/2 inches). Half-title, title printed
in red and black, headpieces and tailpieces, initial letters printed in red throughout. Hand-coloured
frontispiece, 96 tipped-in or mounted facsimiles, 27 tipped-in facsimiles of watermarks on paper
made in the manner of the originals, 43 tipped-in facsimile paper labels. paper label on spine, extraillustrated with the prospectus for the book affixed to front pastedown, and the invitation to the
book’s publication party at Princeton affixed to front free endpaper. Publisher’s half linen over papercovered boards, half red morocco and cloth box (minor bump to corner of box, the book unaffected).
Provenance: Thomas A. Stone (typed address slip on Dard Hunter letterhead, laid in).
The “author’s magnum opus.” - One of 200 numbered copies signed by Hunter, this copy numbered one hundred
twenty-eight.
The book is printed on Dard Hunter’s paper, and with type cut by Dard Hunter, Junior. “The last work
of the Mountain House Press and the author’s magnum opus, this book provides a history of American
papermaking by listing and describing the first paper mill in each state from 1690 until 1811, six years prior
to the introduction of the first paper machine into the United States. There are in the book 123 facsimiles of
documents and watermarks and forty-two reproductions of labels used by these early paper manufacturers.
The thick folio volume was to have been issued in an edition of 210 copies, but the author’s own bibliography
says that only 180 were completed” (Schlosser).
Schlosser 41.
(#26762) $ 9,000
97 MAROZZO, Achille (1484-1553).
Opera nova.
[Modena: circa 1540]. Small 4to (8 1/16 x 5 7/8 inches). Woodcut title, 83 woodcuts. Dated
1569 in manuscript on the title. Seventeenth century mottled calf, spine with raised bands in six
compartments, citron morocco label in the second compartment, the others with a repeat decoration
in gilt, marbled endpapers.
Rare early edition of one of the first systematic treatises on fencing and a foundation work on the Northern
Italian school of swordplay by a Bolognese master.
“Marozzo is generally looked upon as the first writer of note on the art of fencing” (Castle’s Schools and
Masters of Fence, quoted in Thimm). Favoring a cut and thrust sword, his methods demonstrated stances
and parries that were later modified for the rapier. Indeed, Marozzo used a blade that bridged the gap
between longsword and rapier and his style transitioned the swordplay of the High Middle Ages to the
fencing of the Renaissance.
The present is a variant edition ascribed by Sander to an unnamed Modenese printer of ca 1540 and reuses
all of the original blocks of the 1536 edition. Antonio Bergolli, priest and printer of Modena, is known only
through this “très rare livre de Marozzo” (Fumagalli). The fine Renaissance woodcuts, which present rich
costumes and were reused in subsequent editions, are occasionally signed with a monogram ‘b’ or ‘b. R.’
and have been attributed alternatively to the Roman engraver Francesco Barattini or the Venetian Giovanni
Britto.
Brunet III, 1466: “ouvrage curieux”; Lipperheide TdS; Mortimer, Italian 287; Sander 4384; Thieme-B. II, 458; Thimm p.181.
(#28397) $ 9,800
98 MERLY LIBRARY.
A Catalogue of the well known and celebrated
library of the late Ralph Willett ... And a very Choice
Selection of Botanical Drawings by Van Huysun,
Taylor, Brown, Lee &c. ... sold by auction, by Leigh
and Sotheby ...
London: 1813. 2 parts in one, 8vo (8 7/8 x 5 3/4
inches). [4], 103, [1]; [2], 103-119pp. Priced
throughout with buyer’s names in a neat period
hand. Expertly bound to style in speckled calf over
period marbled paper covered boards, spine with
raised bands in six compartments, lettered in gilt
in the second compartment, the rest decoratively
tooled in blind, period green endpapers.
Provenance: Corset Collection (bookplate); Barnet
Kottler (booklabel); J. O. Edwards (booklabel).
Thick paper copy of the famed library of Ralph Willett,
complete with the separately-issued supplement of
botanical watercolours.
According to Windle & Pippin this is the large paper
copy of the sale catalogue, printed on thick paper. It is
possible that Dibdin was involved in the cataloguing
of the sale, he certainly offered to look over the proofs
for the early printed books (letter to Leigh & Sotheby
dated Nov.1, 1813, now at Harvard) and some of the
notes look like his work.
“Willett’s library was remarkably rich in early-printed books and in specimens of block-printing. Many
works were on vellum, and all were in the finest condition. He possessed also an admirable collection of
prints and drawings, while his pictures included several from the Orleans gallery and from Roman palaces.
A description of the library was printed in octavo, in French and English, in 1776; it was reprinted by John
Nichols, with twenty-five illustrations of the designs, in folio in 1785. A catalogue of the books in the library
was distributed by Willett among his friends in 1790 ... His library was sold by Leigh & Sotheby on 6 Dec.
1813, and the sale occupied seventeen days. He had been a patron of Georg Dionysius Ehret [q. v.], who
spent the summers of many years at Merly, its library containing a copious collection of exotics by him. The
botanical drawings were sold by Leigh & Sotheby on 20 and 21 Dec. A list of the prices realised at this sale,
nineteen days in all, was published in 1814, the total being 13,508l. 4s. His books of prints passed under the
hammer on 20 Feb. 1814” (DNB).
(#26889) $ 2,750
99 MONTUCCI, Antonio (1762-1829).
Urh-chîh-tsze-tëen-se-yîn-pe-keáou; Being a
Parallel Drawn between the two Intended Chinese
Dictionaries by the Rev. Robert Morrison, and
Antonio Montucci ... Together with Morrison’s
Horae Sinicae, A New Edition, with the Text to
the Popular Chinese Primer San-Tsi-King.
London: Printed for the Author, 1817. 4to (11 x
8 1/2 inches). [6], 174pp. Woodcut frontispiece
in Chinese characters, 10 full-page woodcut
illustrations of Chinese characters, further
characters throughout. Uncut. (Dampstaining).
Modern boards, paper label on spine.
Very rare privately-printed critique of a noted early
Chinese dictionary.
Lord Macartney’s embassy to China prompted
a flurry of activity into the study of the Chinese
language in Great Britain. At the forefront of this
work were Antonio Montucci and Robert Morrison.
Montucci, a noted Italian linguist, came to England
in 1785 to teach Italian. A chance encounter with
native Chinese in London is said to have launched the dedication of the rest of his life to the study of Chinese
and the production of what he believed would be the definitive dictionary for use by Europeans. At his own
expense, Montucci began having woodcut type made for the printing of the Chinese characters. After failing
to secure patronage in England, Montucci left for Berlin in 1809 on the promise of support by the King of
Prussia. Montucci would eventually finish his dictionary in 1825, selling his manuscript, his library and his
type to Pope Leo XII. His dictionary would never be published.
Within a few years of Montucci’s first proposal, Robert Morrison began work on his own dictionary. Arriving
in Macao as a missionary in 1807, he endured numerous hardships, living in seclusion under the threat of
being expelled or executed by the Government, who had forbidden Chinese being taught to foreigners under
penalty of death. Eventually, Morrison was hired by the East India Company as a translator. After nearly ten
years of work, Morrison published his dictionary in Macao in three parts, the first part being printed in 1815
(the final part being published in 1823).
The appearance of the first part of Morrison’s Dictionary no doubt threatened Montucci’s project and
prompted the private publication of the present work. In Montucci’s “Parallel”, which is dedicated without
permission to Staunton, Montucci critiques Morrison’s work, arguing that Morrison’s characters, based on
older and official sources, omit much of the Chinese vernacular language, which his proposed dictionary
included. After many examples of Morrison’s errors and to further prove his point, Montucci here retranslates the Confucius primer Three Character Classic (San Zi Jing).
Montucci’s work is scarce, with no other copies appearing at auction in the last forty years.
Cordier III, p. 1594; Lust 1055; Morrison I, 540; Lowndes, p. 1618; Cf. McAnally, “Antonio Montucci” in Modern Language
Quarterly, vol. 7, no. 1 (March 1946), pp. 65-81.
(#26925) $ 4,800
100
SAVAGE, William (1770-1843).
Practical Hints on Decorative Printing, with illustrations engraved on wood and printed in colours at
the type press.
London: published for the Proprietor by Messrs. Longman, Hurst, Rees, Orme and Brown [and
others], [1818-] 1822 [-1823]. Folio (14 5/8 x 10 3/8 inches). Additional title printed in gold and
colours (on india paper mounted), letterpress title printed in red and black within a typographic
border, 3pp. list of subscribers, 1p. Address dated 25 March 1823, dedication to Earl Spencer printed
in colours (on india paper mounted), 1p. prefatory note by Savage dated November 25th, 1818, 52
plates (most printed in two or more colours, one heightened with gold, and including the 9 cancelled
plates), 3 illustrations, and 6 colour-printed head-pieces. Expertly bound to style in red straight grain
morocco over period cream paper covered boards, spine with raised bands in six compartments,
lettered in the second compartment, the others with a repeat overall decoration in gilt.
Very rare large-paper copy of Savage’s extraordinary tour-de-force: an influential and beautiful work on colourprinting.
The whole edition was to have been limited to no more than 335 copies, but in the end only 227 copies
were subscribed for and this can be stated with certainty as being the actual number produced as Savage
deliberately destroyed the blocks in order to ensure that no more copies could be printed. The edition was
issued in two forms: 127 copies in quarto (the Abbey copy is 10 1/8 inches tall) at 5 guineas and 100 copies
on large paper, as here, at 10 guineas. The large paper issue is rare.
The underlying reason for the work is quite interesting: Savage wished to present his new oil-free printing
ink in a form which allowed for its full potential to be demonstrated. The result is a masterpiece. “Savage’s
magnum opus, which was announced in 1815, appeared in parts between 1818 and 1823. It is both a highly
idiosyncratic volume and a notable landmark in the history of color printing from wood, anticipating Baxter
by about ten years” (Ray, The Illustrator and the Book in England ). The technical aspects of the work are truly
extraordinary: one highlight amongst many is a colour print, which Burch notes is printed from twentynine separate blocks, and which therefore qualifies as “the most complicated print ever printed in colours
from wood blocks.”
Abbey Life 233; Bigmore & Wyman, II, pp. 297-301; Burch Colour Printing pp.116-121; Friedman 35-38; Lowndes III, p.2194;
Printing and the Mind of Man 141; Ray The Illustrator and the Book in England 99.
(#27803) $ 17,500
INDEX
ADAM, Robert 54
ALLOM, Thomas 27
AMERICAN GAZETTEER 2
AMERICAN REVOLUTION 3
AUDUBON, John James 70
AZARA, Félix Manuel de 4
BACKUS, Isaac 5
BADGER, Clarissa W. 71
BARBA, Alvaro Alonso 6
BLIGH, William 28
BORGET, Auguste 29
BOURNE, Samuel 55
BOWYER, Robert 56
BRASS FOUNDRY PATTERN BOOK 90
BURMESE MANUSCRIPT 91
BURNEY, James 30
CHAUCER, Geoffrey 92
CHETHAM, James 93
CHRISTMAS 94
COOK, Capt. James 31-33
DANTE ALIGHIERI 95
DEWEY, Dellon Marcus 83
DEZALLIER D’ARGENVILLE, Antoine Joseph 72
DILLON, Peter 34
DONOVAN, Edward 73
DUHAMEL DU MONCEAU, Henri Louis 74
ECKFELDT, Jacob R. 8
EGYPT 35
EVELYN, John 36
FARSARI, Adolfo 57
FLEURIEU, Charles Pierre Claret de 37
FRITH, Francis 58
GLADWIN, George E. 9
GORKY, Maxime 59
GOULD, John W. 10
GREAT BRITAIN, War Office 7
GREIG, Thomas Watson 60
GUIGNES, Chretien Louis Joseph de 38
GUILLET, Peter 11
HAKLUYT, Richard 39
HALL, Basil 40
HALLEWELL, Edmund Gilling 12
HAMILTON, George 41
HEINE, Wilhelm 61
HOLBROOK, John Edwards 75
HOOKER, Sir Joseph Dalton 76
HUNTER, Dard 96
INDIAN School, early 19th century 77
JACKSON, John Baptist 62
JAMES, Silas 42
JENICHEN, Balthasar 46
JOUTEL, Henri 13
KENNEDY, John 78
KRAFFT, Jean Charles 79
LAMBERT, Aylmer Bourke 80
LÉBÉDEFF, Jean 59
LEDYARD, John 33
LEE, Robert E. 14
LIVINGSTON, Edward 15
MAROZZO, Achille 97
MARTHA’S VINEYARD 17
MASON, George Champlin 18
MATHER, Cotton 19
M’CALL, Hugh 16
MCKENNEY, Thomas Loraine 20
MEARES, John 43
MERLY LIBRARY 98
MONNOYER, Jean Baptiste 81
MONTUCCI, Antonio 99
MORAGNE, Mary Elizabeth 21
MORDEN, Robert 44
MUENSTER, Sebastian 45
NOTMAN, William 22
PETIT, Victor 82
POTTINGER, Henry 48
RADFORD, Oswald C. 47
RAE, Julio H. 23
RAYNAL, Guillaume Thomas Francois 49
ROBERTS, David 63
ROTHSCHILD, Lionel Walter 84
SALT, Henry 64
SAVAGE, William 100
SAYER, Robert 24
SCOTT, Sir Walter 65
SHILLIBEER, John 50
SHOBERL, Frederic 66
SINCLAIR, Isabella 85
SMYTH, John Richard Coke 67
SOWERBY, James 86
STAUNTON, George Thomas 51
STEARNS, Samuel 87
SUTHERLAND, Peter Cormack 52
THOMSON, John 68
TRAVIS, Daniel 1
TRIPE, Linnaeus 69
TRUSLER, John 53
WEBSTER, Noah 25
WHITE, Gilbert 88
WILSON, Alexander 89
WOOD, William 26